10 Things that Shook Hip Hop in the last decade

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By KNL

The last decade has seen a massive shake up for the world of hip hop. In this article KNL looks at how the culture has transformed and what monumental occurrences have changed the way we as fans, and the rest of the world, see hip hop. Deep KNL, deep...(editor's note)

1. Hip Hop Hits the Web - Main Dominator: 50 Cent

This has brewed throughout the decade and is now reaching heights which are quiet frankly – silly. We’re all for hip hop sites and places where we can view and listen to the latest stuff but one has to wonder how far is too far. The last decade has seen hip hop transform itself from more than just music into promotional blogs, videos, articles and websites set up just to promote specific albums. The lateral rise of Twitter, Facebook and MySpace was good news for Stans across the world as they could now synchronise their sleeping, eating and toilet patterns with their favourite rapper.

Furthermore the internet is aptly linked to our other topic, Beef. The internet has made beefing so easy and remote that it has transformed from a lyrical war or words, into a matter of online humiliation and finger pointing. 50 Cent has actively used ‘Thisis50.com’ to destroy many of his rivals, and whilst it’s funny as hell, one has gotta ask why they’re not destroying careers lyrically like they used to.

Finally, Youtube has been a saving grace, providing us all with a way to upload our own or leaked material (I’m not condoning this…!) oh of course not KNL (editor's note) and has also allowed artist’s epic fails to be readily available to millions – who remembers that dude from Pretty Ricky dancing in his underwear?!

2. Beef – Main Dominator: 50 Cent

Since 2000 we have seen more beef than a Maccie Ds in an obese town – off the top of my head, these are just some of the highlights I can remember...

Jay-Z vs Nas

50 Cent vs Ja Rule

Dr Dre vs Jermaine Dupri

Eminem vs Canibus

LL Cool J vs Canibus

Benzino vs Eminem

DMX vs Ja Rule

Kurupt vs Daz

Lil Wayne vs Gillie da Kid

T.I vs Lil Flip

T.I vs Ludacris

T.I vs Alfamega

50 Cent vs Nas

50 Cent vs Fat Joe

50 Cent vs Jadakiss

50 Cent vs Sheek Louch & Styles P

50 Cent vs Cassidy

50 Cent vs Rick Ross

50 Cent vs Jay-Z

50 Cent vs Lil Kim

50 Cent vs The Game

50 Cent vs EVERYONE

Goddamnit – now let us remember that out of these beefs probably 2 or 3 of them actually resulted in hot tracks. The most high profile battles were probably between 50 Cent and Ja Rule, Jay-Z and Nas and Eminem vs Canibus & Benzino. However the rest of this stuff was either a war of words, a war of blank threats and punches and in the case of the last 10 50 Cent beefs – just straight up clowning. I like Fiddy, but this section belongs to him too.

3. Return of the Remix – Main Dominator: Lil Wayne

Damn just about every Radio friendly song that hit our airwaves required some sort of remix to re-release the buzz and capture everyone’s imagination. Whether it was the frenzy created around Touch It or A Millie – or the crazy re-styles of Usher’s Confessions, everybody seemed to want to jump on the remix bandwagon. However the main prize has to go to Lil Wayne, who made it a personal mission to jump on as many tracks as possible – it got to the point where over the last 2 years it was impossible not to hear him remix something!

4. Death of the Super Label – Only Dominator: Aftermath

So it turns out the 90s was the time where Def Jam, Bad Boy, Rocafella and Deathrow to name a few were doing well and providing real music power houses. The last decade however has seen a decline – unfortunately there is probably only one label that lives up to the Music Powerhouse and that’s Dr. Dre’s Aftermath studios, but don’t forget it’s only because they have 3 multi-platinum, now legendary artists.

However, remember the days of a video where you saw more famous cats popping Crystal in a club or by the pool than you thought necessary? They’re gone. No more Lox in shiny suits behind Diddy, no more Dogg Pound, Kurupt, Daz etc. lounging in the club behind Snoop…it looks like merchandising is the way to go. Sad times.

5. ‘So it’s ok to wear white boy clothes now?’ – Main Dominator: Kanye West

People rejoice, for now you can wear a pink Ralph Lauren Polo shirt and not be questioned about your sexuality. You can wear the tightest jeans, with the tightest shirt, and a little red bowtie and no one will question your credibility as an artist. Ever since the arrival of our beloved College Graduate and 10,000 Louis bags later, Mr West has introduced classy attire to an undeniable number of artists who now follow his style.

With the rise of the ‘hipster’ fans it seems mature and sexy is the new way to go. But is this hip hop opening its' doors and becoming more tolerant of the outside world or is it that money and extravagance has taken the main stage in our once gritty genre? I don’t know about you – but the increase in bow ties and suits seems to be directly correlated with a decline of that hard ish...

Part 2 to come, stay tuned people

Rakim works with Bassi Maestro on track from "The Seventh Seal"

We couldn't believe our eyes when we saw an Italian producer/emcee, Bassi Maestro, being credited for producing "Working for You" on Rakim's new album, "The Seventh Seal"...a chance for Italian hip hop to be launched to the heights of worldwide fame and respect...and at the same time a huge honour, crafting a beat for one of the best emcees ever.

But it was all more complicated than that, as we learned by reading Bassi Maestro's blog. Apparently the beat was on a cd left by Bassi Maestro in NY, it travelled far from hand to hand and eventually ended infront of Rakim. Loving the beat but not knowing who the producer was, Rakim decided to use it anyways and leave the credits blank on the album.

Of course, Bassi Maestro found out. Unsurprisingly. The Seventh Seal being such a high profile release made it highly unlikely for the beat to remain creditless for long. What ensued was a an explosion of debates online on various forums and blogs, and the ultimate move by most sites and Wikipedia to give Bassi Maestro his fair credit.

This is a complex one, and affects all beatmakers who give away their beats for free online or to emcees on cds. There is a lot of "heat" around the subject on Italian and American forums, both interestingly arguing opposite views ("Americans are thieves! vs Italians stop whining!"). However in our view, these are the really important things to keep in mind about this story:

1. Moral obligations - None of us know what really happened, if we however take the above version of the story to be the truth, a creditless beat shouldn't be used on an album. Not for the royalties, but for the simple reason that credit should be given where credit is due.

2. Protect yourself - Yes, easily said now, but this is vital. Performing rights association protection is the legal way to do it, otherwise tagging beats is a valid practical alternative. Of course, in the excitement of promoting your beats the last thing that comes to mind is that Rakim may end up using them without giving you credit, but that's the way the world turns and the unlikeliest of things can happen.

3. But actually, it's not that bad - Unfair, irritating, enraging, sad...yes...but once the dust settles and you get over these emotions you start looking at the bigger picture. Italian hip hop is now at the forefront of the global scene and Bassi Maestro is at the heart of it. Stealing and/or imitation is the biggest form of flattery, the beat must have therefore been truly irresistible for a hip hop veteran such as Rakim to use it on his album. Is that not a huge compliment and boost? And also, Bassi Maestro is most definitely on his way now to many more high profile international hip hop projects with some of the best artists in the world thanks to this mishap...the future is bright for him and Italian hip hop.

So in conclusion, lets take a positive look at things. Rakim will no doubt appreciate he made a mistake (we seriously hope so...) , the credit will be officially given to Bassi Maestro and this will hopefully lead to many new and wonderful international collabos. Not sure if any money will ever exchange hands for this beat, but wouldn't any up and coming producer be happy to let one of the best lyricists ever flow for free over his instrumentals? Not for cash, but just for the love of hip hop?

Rakim is not going to make millions from his album, it's an underground release, so lets just hope that both parties reach an amicable artistic agreement; and that this is just the beginning of a series of great things to come.

PS

Could not resist mentioning this...but is it not ironic that this has caused such a stir in the world of a musical genre that strives on "borrowing" (aka sampling) other people's music, often without giving the original artist any credit...? What if the artist sampled by Bassi Maestro on the beat steps up and demands royalties?? Now that would be a tricky one...

--

Below are the two versions of the beat, Bassi Maestro's original from 2004 and Working from You by Rakim from 2009

Ridiculous Hip Hop Scenarios - The Game vs Jay-Z Beef

By KNL

For this spanking new piece of TheRapBuzz journalism and play writing (oh yeah), KNL has documented and authored some of the craziest "what if" scenarios for us. In the first hip hop scene, we have The Game and Jay Z discussing their recent beef...get comfortable people, lights down, curtain open...

*Knock on the door*

Jay: Come in!

Game: Wassup You Camel Face Biatch, I been waiting for such a long time and tonight is the night like Deep Cover.

Jay: Look Jayceon...

Game: Uh...uh...uh...didn't you hear my albums trick, my name is Game...address me as the Game...don't forget my name *signals to his assistant*...eh write that down I'm a put that line in my next track.

Jay: Look 'Game'...I don't know why you got a beef with me, I'm just doing my thang...you know I'm too old for this shit. I got a young woman every other rapper wanna jump on, I got a wife every other rapper also wanna jump on, I got 99 problems with my bitches mayn...look at me, I'm wearing slippers and I aint even cut my hair....can't you see I got enough on my plate already.

Game: Nuh...uh Sean, I aint showing you no mercy...I'ma come out with this 'Fuck Jay-Z' thing it's gonna be big...Big like Biggie, the Notorious Biggie from Brooklyn *signals to his assistant* eh-yo write that shit down, I'm a put that name-drop in my next song.

Jay: Look son, I already told you before when you had that shit with Bleek...I don't know why you doing this Game, you really wanna do this?

Game: I'm a just do it like Nike homie *signals to his assistant* eh-yo write that shit down man. You aint even ready, I got like 600 bars for you Jay...I used up 3 of my ink pens I got from my mama, I'm from Compton. I'm from Compton, which is right here *pulls out map*...in LA...you can ask these guys, I Have their numbers...I swear I'm from Compton and I'm a blood...look I got the certificate and everything.

Jay: Look, the whole beef thing, all this shit, I'm done with it...can't you see I'm an old ass man now...I aint got time to do another Takeover dude...you dissing a wall here Game. A wall. I already spoke to Dre, he told me how you turned bi-polar and started crying n shit...

Game: What...

Jay: Yeah son, Andre told me how you starting getting all weird, asking him if he was looking at 50 when your head was turned...he said you accused him of spending too much time with the rest of the guys...he told me how he found your scrap book and diary...he even e-mailed me the entry...look I got it here: "Dear Diary, Day 23 in the Aftermath house. 50 Cent got to use the mic first today, I don't know why Dre let him use it first. I was so excited about it. And then at lunch, 50 took some of my french fries and I complained to Dre, Dre told me to stop whining like a bitch so I went upstairs to my room and now I'm sitting her alone. I sure miss Eazy, I never met him but I feel he is with me at times, in the shower, at nap time. I got to go record Hate it or Love it, hopefully Dre will use my lyrics not 50s...I got like 20 rappers names on Google and put all of their names in my rhyme."

Game: How the fuck did you get that Sean? Where the fuck do you get the balls to read my Diary? Ah I've had it with you Mr. Carter...you make me sick. I'm just...I'm just...I'm just so upset right now. I'm going to call Dre right now.....I'll put it on speakerphone

*Phone rings*....'I'm sorry but this number no longer exists'

Jay: Game. The Game's Over....*signals to his assistant (Drake)*...'eh yo write that down, that's gonna be the Bonus track in my next album.

Game: Please Jay, don't mention this to anyone. I'll do a guest spot for you...look don't you want me on the D.O.A remix...I'll do anything man.

Jay: Well I'll tell you what, just sign this piece of paper here and we can end this write here.

Game: Cool man, eh yo for real...lemme just tell you, you're a great guy...I told 50 before, I said...hey that guy Jay, he's a good guy. I like you Jay. We should hang out.

*signs paper...Jay picks up his phone...*

Jay: Cindy...get Diddy on the line....he just got another rappers career fucked up with a slavery Bad Boy contract...

Game: I'm a be on Bad-Boy....oh my god like Biggie....*signals to assistant* call the guys, call the bloods and call the girls...we are so going to celebrate.

*Game leaves the room...Jay picks up the phone*

Jay: Andre....yeah...he just left....looks like the only time you'll see him on TV next year is Making the Band. See you at Golf.

Applause

More to come people, you like?

Rap's Dynamic Duos - Part 2

Image Credit


By KNL

Eric B and Rakim

It's been a long time...Rakim to me is one of the very best, if not a contender for the top spot and not least because of his viscious wordplay and effortless flow. It's more to do with the fact that this guy was gangster without actively promoting it; he didn't have to get tough on the mic because the music took care of it for him...and thus he was able to gather a wider variety of fans than say Mobb Deep, because you could respect him for his skills as well as his gangster. With Eric B alongside, it meant Ra had someone who fully understood what sounded nice when he was on the mic. As a result, this Duo were able to craft some of the most incredible hip-hop anthems; it's a shame they had to part ways...but nevertheless, we can never forget.

GangStarr

Rakim sounded awesome when laced over Premo beats. Someone who sounded even better though was Guru, of whom with Dj Premier formed the formidable GangStarr. Even after 20 something years in the game, Guru can kick it with many of today's top MCs....with an almost effortless flow and a way of spitting aggressive rhymes without having to raise his voice, Guru's flow melts like butter on a hot Premo track. It is often the dream of many hip hop fans to have their favourite producer hook up with a dope MC; GangStarr is one of the very finest examples. Their catalog of incredible albums and sizzling tracks mean GangStarr are firmly forged into hip hop history.

Dr. Dre and Snoop Dogg

Following on from pairing a dope producer with a sick MC comes a slightly different pair. Snoop Dogg is not really an MC as such, and neither is Dre...but this pair had something that most of the other duos on this list could only dream about - hit making chemistry which refuses to die. When Snoop Dogg signed up to Death Row in the 90s, Dr. Dre took him under his wing and (cleverly) promoted Snoop through himself and then Executive Produced one of the finest albums of all time, Snoop's 'Doggy Style'. What followed was a string of hits and an incredible catalog of platinum selling albums from the pair. Dre used Snoop's hype on The Chronic and Snoop took advantage of Dre's stellar production on Doggy Style, a few years down the line Dre returned with Chronic 2001 of which once again was heavily graced by Snoop...will Detox be the same? I'm pretty sure we can count on it, with Dre and Snoop both helping each other blow up throughout their careers...I reckon we're all itching to see if that same chemistry still exists. Pay homage.

Dr. Dre and Eminem

Snoop helped propel Dre's Chronic. Em did much the same (if not more) with Chronic 2001. And then surprise surprise, Dre graced Eminem's following LPs with Executive Production credits and guest spots to add that 'legend' status. And why not? Team up arguably the best producer alongside arguably the best rapper and what do you have? A dream come true for any fan of good music...Dre's versatility meant Em could switch the mood of his rhymes depending on the instrumental he'd been handed...and whilst Premo beats (no matter how dope) seem to suit a set tone or mood' Dre's ability to experiment meant Eminem now features an incredible catalog of LPs which vary in terms of moods so much you'd swear they came from a different artist. When these two paired up on the mic, they managed to provide a father-son type chemistry which is still unmatched by many of their imitators - Guilty Conscious, My Name Is, Forgot About Dre....must I go on?!

Part 3 on its' way...

Rap's Dynamic Duos - Part 1

Image Credit

By KNL

In another one of his brilliant hip hop essays, KNL looks at some of the best rap duos to have graced our stereos. The duo has been a typical formation for many rap groups, and often the individuals have not been able to re-create the same magic via solo efforts...there's something special in two emcees sharing verses and hooks. So have a read and let us know what you think!

Big Boi and Andre 3000

I don't really need to justify why these two deserve to be on this list. Their sales figures and worldwide mass appeal speaks for itself. Trust me on this one, finding an Outkast hater is for the most part only possible amongst KKK Rallys and related events.

The simple fact is that Big Boi and Andre 3000 are so great because if we knew them individually; we would never have imagined putting them together. Big Boi is known for more of a conventional quick and witty flow with a typical southern slant on things. Three Stacks is rather known for his eccentricity, ability to step out the box, and a flow which is able to adapt for all genres. What Outkast do so well however, is attract more than just hip hop fans to the frey...all you have to do is check out their SpeakerBoxx/Love Below albums to see that on their own they were able to get clubs pumping with tracks like 'I like the way you move' and then start a frenzie with 'Hey Ya'.

Simply put, Outkast are one of the most diverse and adaptable Rap Duos anywhere who are able to stay with the times and if need be, start a new trend. With the amount of bullshit coming outta the South, it seems a shame we forget about one of the most talented groups in MUSIC let alone Hip Hop period. What's more, they managed to keep their relevance high at all times - definitely contenders for that number one spot!

Redman and Method Man

Affectionately referred to as 'Red & Meth', these two were tight way before Blackout! and this relationship shines when it comes to their performance on and off the mic. As well as their successful ventures on the small and big screen; Red & Meth have kept it real on the mic.

What's so special about these two is that both seem to bring out the best in each other; Redman is a controversial, humerous and laid back figure whilst Method Man brings in the classic Wu Tang swagger and slightly more aggressive rhymeplay into the scheme. Both artists are superstars in their own right despite not being able to hold down equally successful solo careers; their work has been solid if not spectacular yet when together the creativity and magic seems to come out as if from nowhere. What does that tell me? That tells me that this is one of hip hops truest duos, two super heros who only have their magic powers when used together...like some hip hop Power Rangers. Or some shit (editor's note - umm, yeah, power rangers).

Mobb Deep

At one point or another, any aspiring MC of the era was infront of his mirror mimicking the Infamous and lip-syncing Shook Ones (...what only me??) With a viscious flow and a tag-team rota on the mic, Mobb Deep bought gangster lyrics and hardcore beats to the forefront of Hip Hop. Prodigy and Havoc had a winning formula, and as small a niche it might have been, these two have milked it accordingly. Whilst they will never be awarded for their creativity when compared to acts like Outkast, what they do have is a now infamous chemistry which had many of your favourite rappers shaking in their boots at one time or another.

So why do Mobb Deep get my vote; well check your gangster rappers now (what's left of them) and tell me who's still bringing it how they did in the mid-90s...Snoop is rocking a turban and flying around on magic carpets...Prodigy and Havoc are still keeping it 100% QB, and even if their recent efforts haven't hit the mark, their lifelong consistency speaks for itself. You heard it from the TheRapBuzz, the infamous, you heard of us!

BDP

Boogie Down Productions for me laid down the benchmark, the perfect formula of which many would follow for years to come. KRS-One was the lyrical don whilst Scott La Rock bought the notes and melodies...leaving you with a perfect combination. Many cite the birth of Gangster Rap with Dr. Dre, NWA, Death Row and the West Coast....yes Gangster Rap started there. But Gangster Hip-Hop started with KRS grabbing a gun on his album cover when Dre was rocking a silver suit. But it takes more than being gangster to grace my list...KRS One bought us infamously simple yet catchy hooks combined with compelling story-telling lyrics and a clear delivery.

Criminal Minded was an incredible album which still influences your favourite artist today, the fact remains that BDP birthed what the rich white men are marketing now - and show us what it would be like without ever increasing commercial influence. Let us not forget those battle tracks (see The Bridge is Over and South Bronx) which had even Queen's natives chanting 'Queens keeps on faking it'...because whether you liked it or not, BDP was cold. Unfortunately Scott La Rock was murdered just before Criminal Minded's release in 1987...it is obvious that BDP would have been incredibly huge had he lived on to carry on the magic.

UGK

Now Southern Rap is everywhere you look and hear, infact it's become an irritation and constantly pointed to as the 'hip hop killer'. However when Southern Rap was merely a spec on the radar, Pimp C and Bun B bombarded the industry with a unique swag and use of slang unheard in hip hop prior to their arrival.

Pimp C was particularly potent with his production style which made them stand out from the crowd before they even graced the microphone. Known for being more melodic and featuring what would become typical Southern traits of hip hop production style, Bun B accompanied him perfectly with a decent flow capable of switching tempo but still maintaining constantly sound lyricalism and the odd rewind-worthy metaphor too. They were accepted all over and furthermore became widely acknowledged and respected; Jay-Z's Big Pimpin is a briliant example of the duo adding their unique flow to a super-mainstream hit, and shows their versatility. It's a shame that the South been f***ing up the scene recently, but all it does is highlight UGK's legacy even more. RIP Pimp C


Part 2 on its' way...

Wu-Tang Lego: Da Mystery of Chessboxin'

Wu-Tang Lego: Da Mystery of Chessboxin' from davo on Vimeo.

Simply fantastic. What next? Big Poppa or Californa Love?

The Hip Hop Government Dream Team - Part 2

By KNL

Department of Labour: Lupe Fiasco

Looking after the people is important, and currently Lupe seems to be in touch with the masses making him an ideal candidate for this position. His blend of touching rhymes designed to appeal to everyone (not just ballers and gangsters) makes him perfect for protectiong the rights of the working man. He is not only a spokesperson for the unheard, he is a breath of fresh air in a Cabinet mostly occupied with fatcats who look like they may have lost touch.

Department of Health and Human Services: James Todd Smith

Despite many believing he was one of the major components when forming the basic Cabinet, politics and a lack of support have pushed James to managing Health issues. Dedicated to keeping himself in tip top shape, Smith is responsible for ensuring that hip hop remains as healthy as possible. Whilst his past work cannot be disputed, his more recent efforts have shown that the emphasis on health has become more superficial; his demanding ego and internal issue with Carter means he is unlikely to find himself playing a major role in the future, unfortunately it looks as if that time has passed.

Department of Housing and Urban Development: Reginald Noble

If you known Reggie, you remember MTV Cribs and the dump he called home. So who better to help improve the state of housing and urban development than Red Man?! With objectives such as ensuring every front door actually features a piece of glass and that everyone’s freezer is stocked with frozen fish gourmet meals; Reggie ensures that hip hop followers will live in better environments. Going back on his previous slogan of “Smash something” and “Dirty”, Reggie is now concentrating on how to clean up properties, instead of breaking them.

Department of Transportation: Alvin “Xzibit” Joiner

This one is a given, now that he’s done with Pimp My Ride, he’s definitely going to be the one in charge when it comes to pimping the Cabinets cars. Highlights include a marijuana farm in Calvin Braudus’ limo, a diamond mine complete with slave workers in Paul Wall’s Escalade and a mini Police HQ in Rick Ross’s Maybach. Some say his transportation aims miss the true hip hop followers and appeal to a lucky few; but with keen support from surrounding officials he is unlikely to go anytime soon.


Department of Energy: Christopher Bridges

This may be seen as a “ludacris” appointment but in reality few names bring as much energy and pump when they release new material. So it was only natural when Chris was handed over the reigns in ensuring the energy is kept running and healthy in the world of hip hop, with successful commercial ties to all of the big names; Chris has ensured his loyal followers are never left behind. Thanks to his worldwide appeal, he’s bringing worldwide energy to the Cabinet.


Department of Education: Nasir Jones

Whilst this was a sure spot for Lauryn Hill, her willingess to hide away from the spotlight brings Nasir Jones into the picture. With an aim of teaching kids the truth behind America’s success and motives, Nasir aims to bring a curriculum rather different from what white America would want. Nasir’s objectives include introducing Advanced Beef Production and Conscious Commercial Success into the curriculum; he is backed by the biggest names but many once loyal followers question his credibility. Can he teach like he used to?

The Hip Hop Government Dream Team - Part 1

Image Credit

By KNL

With Barack Obama taking over office, I’ve been meaning to do this for a long, long time. Now it’s here; the answer I’m sure you’ve all been looking for...what would happen if Hip Hop’s royalty decided to take the step for a Presidential race?! Well folks, here it is!

Department of State: Shawn Corey Carter

With previous experience in seeing Roc-A-Fella elevate to hip hop stardom, and a breif stint in the Def Jam hot seat; Shawn is not short of experience when it comes to leadership. He is just short of leading the campaign due to his knack of annoying certain sections of hip hop’s elite factions ensuring there is never enough support for him to take the higest throne. Positive attributes include a good relationship with important people both inside and outside the hip hop community, crossover appeal and an ability to fatten the party’s pockets through unlimited ventures. Controversies include the fact he is constantly accused of quoting a certain deceased central figure; and his ability to break strong ties with some of his strongest fans leaving some with the opinion that he should be kept at arm’s length only. Internal power stuggles between him and other members of the Cabinet have also increased jealousy among his rivals.

Department of the Treasury: Sean Combs

Sean Combs comes with not only a wealth of experience and important historical consensus thanks to his previous ties with Sir Wallace; he also comes with an ability to look after money better than most of his associates. Who better to look after the economy than one of hip hop’s richest? Known to be extravagant, close sources suggest that Mr Combs will strengthen the budget with some eyebrow raising commercial ventures. Often inviting some of the world’s elite to his famous parties, Sean Combs is reportedly in friendly competition with Secretary of State Carter; however recent popularity stakes have made him less electable and so he has to stick with running hip hop’s economy.

Department of Defense: Curtis Jackson

Young, fresh and relatively new to the game. Curtis’ ability to tie down enemies through good old American repression and threats of violence have made him famous as a force to be reckoned with. Surely rogue nations will think twice before launching those test nukes with Curtis calling the shots? His cocky attitude has had its moments of brilliance, but he is not shy of controversy and confrontation both in and out of the cabinet. He will surely smile for the cameras, and many outsiders may not know it, but in the back of Curtis’ mind is a surefire plan to oust Combs and Carter for the future big spot; watch this space.

Department of Justice: Russel Simmons

With a huge wealth of experience behind him, and one of the very beginners in hip hop’s world domination, Russel is now a famously inept peacemaker and a firm beleiver in honest and peaceful resolutions. His running of the justice department includes famously recruiting Curtis Jackson in his Yoga program to help calm his war starting instincts and hanging up leadership of a powerful venture only to find it slowly dying in the wake of competition. Famous for bringing Todd Smith into the hip hop’s elite, he has since lost his strong ties with many of his once close associates including Todd Smith and Clifford Smith.

Department of the Interior: DMC

Looking after the interior means looking after the indigenous people of hip hop, and who better than one of the freshest originals to grace our ears. DMC’s responsibilities include maintaining a healthy relationship with the original fans of hip hop and trying to make sure the hip hop ideology doesn’t exclude this endagoured minority; his strong relationships with much of the hip hop elite and an all-round respect put him on a plateu unmatched by his peers. Perhaps not feared, but he is definitely respected.

Department of Agriculture: Bubba Sparxxx

Rarely focussed on by the hip hop cabinet, the suprise appointment of Bubba Sparxxx was fuelled mostly by the fact there was not much competition for the job. Roles include ensuring hip hop’s appeal doesn’t escape the countryside and ensuring a healthy crop of future country-rap talent. His close ties with Timothy in the Cabinet mean he is often respected despite his humble and unconventional origins.

Department of Commerce: Pharrell Williams

Focussing on future growth of hip hop, Pharrell is constantly bringing a new sound and nurturing new talent to ensure the genre expands and grows as far as possible. With his respective group the Neptunes, we have witnessed not only 5-star quality but brilliant album releases designed to appeal to the masses. Whilst some purists disagree with the tactics, Williams is an integral piece of the puzzle; not only is he respected by Carter, Combs and Young, he’s also seen as a huge pinnacle in the music industry as a whole.

Part 2 coming soon...

Relapse - Fresh thoughts off the first listen

Yes, we're going to do it differently. There's hundreds of reviews and free downloads of Relapse available online...but we're going to review it fresh off the first spin of the album on Spotify. Call it freestlye reviewing lovely people...

So, the first thought that strikes your mind is fu*k me it's been four years but he hasn't lost his flow. The absolutely breathtaking rhyme juggling on all tracks keeps you focused on his insane lyrics throughout the minutes of the album. Is there anyone out there who can match him??

The second thought is insane. Slim Shady has always been a crazy one, but on Relapse Em takes his alter ego to the next level. He is fully aware of this, couldn't care less and has some hardcore explicit in your face fun with it. True parental advisory horror sh*t, you're warned (just in case you weren't expecting this)

The third thought is the beats. Yes it's Dre, yes of course they're good...but I don't know. Was expecting something more evolved here to carry that mad twisting flow of his.

To wrap it up, I really had no idea what to expect. What I got was an evolved top of the class flow, fun rhymes, the same ol Em lyrics (with maybe more of a drug swing this time round) and Dre's beats. It ain't new or innovative, but it ain't bad at all. Simple true hardcore headbangin Eminem rap. Go and buy it, he still is one of the best.

The Perfect 50 Cent Album - Part 2

By KNL

Track: Gunz Come Out

Album: The Massacre

Why?

Simple really. Listen to the beat and feel the sheer aggressiveness of it. Then couple such dopeness with Mr Angry himself and you got a sure fire banger. Produced by the good doctor, it leaves no guesses as to who was behind the boards. Whilst the track may be pretty mindless in certain aspects, this is essentially what 50 does best *anything is better than one of the ladies *. The chorus is also undeniably a catchy one, go on try to stop yourself from humming along…!

Killer Opening Lines:

“I do this all the time, stuck with a little shine/ Walk with a little nine, case I get in a bind/ They say I'm fuckin' crazy, they think I'm out my mind/ Cause I'm down to bust a nigga head all the time…”

Track: I’m Supposed to Die Tonight

Album: The Massacre

Why?

Here 50 takes us into dark scenery and it almost seems like a movie coming out of your stereo. The track on its own is bare and pretty ordinary as an instrumental, it’s Curtis who managed to add an undeniable magic from the catchy hook to the haunting lines, showing the bare truth of what goes on behind the glitz and glamour. Listening to this track puts you in the same mind frame that Many Men did on Get Rich…it seems 50 has never had to stop watching his back.

Killer Opening Lines:

“This is nothin' new, I been in the position before

Grandma crib, niggas outside of her door

Different day, same shit, old mac, new clip

Thirty two hollow tips, gloves, no rubber grip

I'm a boss, but niggas never show no respect

I catch 'em slippin', I have 'em tongue kissin' my tec

Wanna come, test me, pussy boy don't try it

Police response never fast enough to shots fired”

And now on to Curtis, by far 50’s biggest disappointment…musically and commercially. But nonetheless there’s some shit on there that’s worth taking note of.

Track: Ayo Technology

Album: Curtis

Why?

Yeah I know it’s a Justin collabo, but don’t deny you weren’t feeling it before you had to hear it 3 million times everywhere you went. Timbaland backed 50 with a superstar collabo that was guaranteed to be a success. Hate it or love it, the clubs love 50 and he’s going to need to keep up the pace with his commercial fans and what better than another sure fire collabo backed by a fine beat ready to hit the clubs and make 50 even more of a household name. 

Killer Opening Lines: (Not really such a killer thought…)

“She work it girl, she work the pole

She break it down, she take it low

She fine as hell, she about the dough

She doing here thing out on the floor

Her money money, she makin’ makin’

Look at the way she shakin’ shakin’

Make you want to touch it, make you want to taste it

Have you lustin for her, go crazy face it…”

Track: Man Down

Album: Curtis

Why?

So I hear 50’s coming back hard right? Those joints with Premo etc seem to see him checking his past and coming back to what made him famous…bullet proof gangster shit! And so why not push the boundaries yet again by referencing things most rappers today are too scared to put in their lyrics. This track was so explicit even the Parental Advisory labelled album had to have it censored. With references to murdering police officers, this track is almost impossible to find in uncensored form…I have it though, and trust me the kid doesn’t know when to stop!

Killer Opening Lines:

“These cocksucking police got it in for me

They flash their lights the wanna rough me up

Frisk me find my burner, then cuff me up

But history repeats itself, they never learn

The Unit’s the new people who gon be able to burst

Huh, we’ll find out when niggaz let off the rounds

And this partner screamin officer down…”

Track: 187

Album: Curtis

Why?

Because it’s the same generic hardcore shit that 50 does best, honestly the beat is fire thanks to Havoc and takes us way back to the old 50 once again. Shame the lyrics weren’t on point, but I wanna see something like this as an album filler rather than the throwaway beats 50 tends to pick these days. Lyrically this was quite a bit better than the rest of the Curtis album…with all the time Before I Self Destruct is taking, let’s hope to see something along the lines of tracks like this!

Killer Opening Lines:

“I was a snotty nose, nappy head, dirtball nigga

Sayin I can't wait 'til I get a little bigger

After niggaz jumped me, bumpin my head

Thinkin I wish I had a gun I fill a nigga with lead

Took a kitchen knife to [censored] fin' to poke me a nigga

Wishin I had a gun so I could smoke me a nigga

Sold my first five quarter gram pieces in the alley

Where Bizzy had the Bondeville and Kev had the Caddy

Now those were the days, when crime really paid

The nine milli sprayed, I got the fuck out the way

From shootout to shootout, the bricks went fast

Robberies went bad, niggaz got blast”