Hi-Tek's "Life to Me" Featuring Estelle

Last month Hi-Tek released to limited fanfare his third album, Hi-Teknology 3: Underground, looking to shine some light down the same path he traveled before settling down as a producer with Aftermath. As with many compilations that come out, it’s a hit or miss affair, where misses occur more frequently than the hits. In dealing with rappers still trying to find their identity, you can only imagine what the results sound like. But if you’re willing to do a little bit of digging, there a few gems sprinkled in there. Being the nice guy he is, Hi-Tek gives some new names a chance to shine and doesn’t make us wait too long for the gems.

London born MC/singer Estelle opens up the CD with “Life to Me,” a track where she reflects on the birth of her first child. Over a haunting arrangement of strings, drums, and harpsichord accents Estelle sings and raps her soul for 4 ½ minutes. Hi-Tek provides Estelle with the perfect backdrop for her to recount the mental and physical turmoil she experienced during pregnancy. Hearing a female spit about something other than clothes, sexual exploits or jewelry is always refreshing and to my knowledge this topic isn’t discussed too often in the rap arena. Estelle is a more than a serviceable rapper with good sense of who she is as an artist. She has a good voice and her accent doesn’t distract the listener from what she’s saying.

Of all the unknown MC’s on the album, she appears the most ready to embark on a career of their own. After some digging online, I wasn’t terribly surprised to see that she is signed to John Legend’s Home School Records. Her debut stateside, Shine, is slated for a February 2008 release through Atlantic records. 2007 was a tough year for female rappers in terms of releasing material and in their personal lives. Hopefully she’ll be able to garner some attention through her artistic material.

Hi-Tek ft. Estelle – Life to Me
www.myspace.com/estelleonline
www.estellemusic.com/
wikipedia.org/wiki/Estelle_Swaray

http://smokingsection.rawkus.com/TSS/?p=2709

Take It To The Top

I’ll be the first to admit it - Wayne, Weezy, BM Jr. or whatever you want to call him reigned over the year of 2007. With a work ethic like no other, he kept hitting us over the head with verses & mixtapes week after week. Other than Crooked I, no rapper was more accessible with fresh material.

But looming over the horizon is one moment, that will either make Wayne’s past year a footnote in rap history or be a springboard to being what he thinks he already is. The release of Tha Carter III. Mixtapes and numerous guest verses are good. But to get where he wants to be, nothing less than a classic album will accomplish that.
Not a three month “classic” that will become old news with the next big release, but a stand the test of time unquestionable classic. I’m sure that he realizes this as well, seeing how it’s been pushed back a few times. Several of his mixtapes have had Carter III in their titles, almost as if he’s placing bits of chum out to see what causes us to bite.

Last week he quietly released The Leak (”Lil Wayne - The Leak EP“), digitally as his latest offering to the masses. It’s bolstered by “Gossip,” a track originally rumored to be on the actual album. With all the tracks he’s letting out, it’s hard to imagine that he’s holding anything back for his album.

While not his biggest fan I can admit the progression he’s made over the last few years. With punchlines galore & a flow that can switch at the drop of a dime, the tools are there. The only thing missing is content & storytelling. Look no further than Little Brother’s “Don’t Go Breaking Heart,” to see his inadequacies exposed. Sixteen bars of punchlines simply cannot stand up to well thought out narratives.

It’ll be interesting to see if he can do it. As a fan of the art form, I’d like to see him succeed. I’ll always welcome a great album with open arms. However, judging by the last two Carter’s it would seem unlikely, but stranger things have happened. All eyes are on you Mr. Carter and your control your destiny. We’ll be waiting…


Lil Wayne - The Leak 2 Proper-(Bootleg)-2007
EDIT
Lil’ Wayne Writing For Dr. Dre; Preparing To Shoot New Video [HHNLive]


http://smokingsection.rawkus.com/TSS/?p=2667

Digital Killed the CD Star

The music industry as we know it is coming to an end.

Slowly but surely the physical distribution system (Vinyl, Cassette, & CD’s) is moving toward digital distribution. As CD sales continue to fall year after year, even the staunchest supporters of the industry status quo are beginning to see the end is near. The meteor is headed toward the dinosaurs and they have two choices: adapt and evolve or become extinct. After years of fighting change, rappers are beginning to warm to the idea of music being distributed digitally. DMX, Joe Budden, & Lil Wayne have all secured deals for their music to be sold online. Soulja Boy used Myspace and YouTube to create a buzz before obtaining his deal. And Jay-Z, two months removed from refusing iTunes the right to sell his songs from American Gangster individually, is rumored to be starting a digital record label with Apple.

Up-and-coming artists looking to break in are now forced to find their way in an uncertain environment. Everyone is speculating what will happen in with this new business model, but few are actually giving solutions and offering suggestions on what to do. One person offering a solution is Andrew Dubber, a senior lecturer at Birmingham City University in the UK. He also runs the website

New Music Strategies, which in his words: “… is a website devoted to helping small-medium music businesses and independent artists use new internet technologies and strategies in order to make money and thrive in the new environment.”

He has also written an e-book entitled “20 Things You Must Know About Music Online,” which is a collection of posts that first appeared on his website. The book can be downloaded for free or purchased from his website. This 96-page book is a good read for anyone pursuing a career as an artist or interested in the evolving face of the industry period. It is easy to follow and chock-full of great advice. More importantly, it just produced in June of 2007 so the information is relevant. After reading the book, any artist would do their self a favor by adding his website to their favorites list because he continually updates his site like it was a blog.
For more information, visit newmusicstrategies.com.

U.S. Album Sales Down, Digital Sales Up [Wired]
“British music industry boosted by online sales” [ZDNet]
David Byrne’s Survival Strategies for Emerging Artists — and Megastars [Wired]

http://smokingsection.rawkus.com/TSS/?p=2688

On Tuesdays & Thursdays...

Well, not actually Tuesdays & Thursdays but an obscure reference to the Hot Boyz felt like a good lead-in.

In truth, Tuesdays and Wednesdays were my favorite days of the week while I was in middle and high school (outside of Fridays of course.) Wednesdays because that was the day new shoes were released. I used to be able to rattle off release dates in my sleep. It added excitement to the lull that happens during the middle of the week. Anytime a big shoe came out, like a Jordan, Air Max, or another big name athlete, there was a buzz that would go across the school. Everybody knew who was getting them and there was a race to see who could get them first.
Some went on lunch, some came to school late, others had parents bring them to them, and some had to wait until after school. Thanks to complaints of parents across the nation, major releases got pushed back to Saturdays. All it took was one trip to the mall for a release and having to deal with the lines and throngs of people from across the city to turn me off from these types of encounters. I soon became a proficient online shopper.

Tuesdays, as we all know, were CD release days. You always knew when major artists were going be released, but it was a little sketchy when it came to the likes of a Memphis Bleek. The ads in Source or XXL were a help to no one, because every month had different release date. Your best bet was either calling the store or just chalking it up and going to the store. Just like with shoes, I preferred to go at lunch because a) I left everyday anyway, b) it gave me something to talk about for the rest of the day, and c) who didn’t like to have the first anything in school?

Outside of singles, listening to an album was an adventure in itself, because we had no idea of how it was going to turn out. You were either going to get a Things Fall Apart or a Firm. Either way you never knew what you were getting and that was part of the thrill. It wasn’t out of the ordinary to buy three or four albums a month. File sharing and the internet has brought us to the point we are today. Now we’re always up to date and eagerly anticipating the next leak. I have a friend who swears that the next “big leak” is going to happen as soon as he heads off to work. And for the most part he’s right. Labels can’t fool us anymore, using a single a sell a bad album. But instead of being informed consumers, we’ve stopped being consumers all together.
December is shaping up to be a month to remember. With upcoming releases from the likes of Ghostface, Wu-Tang, Styles, Lupe, Wyclef, Scarface, Beanie, Rick Ross, GZA, & a few others ensure that there’s going be something for every rap fan (even without Saigon & Nas.) What the labels may consider tax write-offs, equates to a month full of new material for us. The true meaning of one man’s trash is another man’s treasure.

In our case we’re more like C.D.I’s (CD investigators.) Each one is going to take some time to go through and determine their worth. The next step, at least for me, is to determine what I’m going to buy. I’ve got a pretty good idea what I’ll be picking up throughout the month, but there’s always something that pops up and surprises me.

But just like with my shoe purchases, music is moving more and more to the online realm. Only time will tell whether my Tuesdays will end up like my Wednesdays. I certainly hope not, because I can’t say that I’ll continue to buy it if it does. All I buy CD’s for now is for the album booklet and to show labels what kind of music I want to hear. The days may be dwindling down, but you’ll see me in Best Buy (R.I.P CD & Tape Outlet) buying what I deem to be worthwhile. Hopefully I’ll see you there.

http://smokingsection.rawkus.com/TSS/?p=2457

Walk Wit Me - Review of Freeway's Free At Last

“I had a dream that Jay & Dame was back together/& in that second everything was back the same/In reality, your boy went back to Mecca/came back & said I would never rap again/Well that’s the way the ball bounces/a verse is an ounce, an album’s a brick/ Now it’s time for trafficin’/Ya’ll lame, I am the product/hotter than lava/they wonder how does Roc-A-Fella package caine?/First you take a brick of Jay/a brick of ‘Ye/a couple quarters of Freeway/an ounce of Beans…” - Freeway’s verse on “Can’t Tell Me Nothing” (Roc Remix)

Although not on the album, in just one verse Freeway sums up the last four years of his life since the release of his first album Philadelphia Freeway. Released in 2003, at the tail end of Roc-A-Fella’s dynasty, the album was critically acclaimed and street approved. Equipped with beats from Just Blaze and Kanye West, Freeway shined with his unrelenting, off kilter flow. Having successfully navigated the “fall” of the Roc and contemplation of giving up rap for religious beliefs, Freeway looks to continue what has proven to be a renaissance year for Roc-A-Fella Records. Following up “bricks” from ‘Ye and Jay; Freeway offers up a couple of “quarters” in the form of his second album, Free at Last.

Hailing from a city known for its contributions to soul music, it’s no surprise that Freeway favor’s the Roc’s “signature” soul driven sound as the backdrop for Free At Last. What is somewhat surprising is that it sports no contributions from Just Blaze or Kanye West. On “It’s Over,” Freeway addresses his frustration with not being able to secure beats from both of them. “Things just ain’t the same for gangsters/I’m back without a track from Kanye, it’s all good…” Thankfully, he only spits a few bars at each of them and moves on. For compensation, he turns to the likes of Bink!, Dame Grease, J.R. Rotem, Needlz, and Cool & Dre to provide the backdrops. The result is a soulful and fairly cohesive album.

Assisted by Marsha Ambrosius, Freeway starts off the album with “This Can’t Be Real.” Over a smooth piano and flute sample, Freeway gives us his account of his life from growing up in North Philly to signing with the Roc to the trials of releasing this album. Freeway’s flow is noticeably more laid back and his voice is a little deeper. Before when he spit, the best way to describe would be like having your foot pressing the gas pedal all the way to the floor, all the time. Now it’s like he’s driving on cruise control, he’s still moving at a good speed, but now he’s able to put more focus on riding the beat. Slowing down has also taken some edge off his high-pitched voice, which was one of the few complaints about him.

The first single is “Roc-a-Fella Billionaires” featuring Jay-Z. Over the Dame Grease produced track, which samples Helen Gallagher’s version of the show tune “Big Spender,” the two emcees trade big money verses. The song kind of stalled as a single, but sounds a little better within the flow of the album. Although it’s a decent song, it shows its age when Jay refers to things like “just” buying a ball team (which he did back in 2004.) Don’t think for minute that money has made Freeway forget where he came from, the majority of the album reflects on his time spent in the street and tribulations in the rap game. On “When They Remember,” produced by Bink!, he makes his case for how he’d like to be remembered when he hangs up the mic. “Reppin the Streets” finds him pledging allegiance to the streets, while on the title track “Free at Last” he addresses the people he feels tried to take his spot during his time away. On “Baby Don’t Do It “ featuring Scarface, the two emcees offer advice to anyone foolish enough to think music has made them forget how things are handled on the streets.

In the end, the absence of Kanye and Just is both a gift and curse. On one hand, Freeway proves that he can make good music without their help. On the other hand, it never hurts to have beats from those two. Songs like “Lights Get Low” and “Nuttin’ On Me” could easily be replaced with songs from the aforementioned two. While solid songs, the production does not fit in with the rest of the album. The same can be said of “Take It to the Top” featuring 50 Cent on the hook. Freeway turns in a fairly decent song geared for the ladies, but the pop backdrop from J.R. Rotem has no business on this album. With significantly less features that “Philadelphia Freeway” Free proves that he has the lyrics and charisma to carry an album, despite having limited subject matter. With a mix of North Philly street life, tough talk, Muslim influences, and a chip on the shoulder of an emcee who feels slighted, Free at Last is another solid release in 2007 from a rejuvenated Roc-A-Fella label.

3.5/5

http://smokingsection.rawkus.com/TSS/?p=2418

As I Am

Album Review

Alicia Keys is in love. The walking on cloud nine, birds’ singing outside your window, sun is always shining and head held high type of love. You see you her face radiantly glowing on the magazine covers. She openly professes it in interviews. And more importantly, she sings about it. As evidenced by her first single “No One,” Alicia is wearing her heart on her sleeve. So with love on her mind and in her heart, Ms. Keys brings us her third studio album, “As I Am.”

The first thing that catches your ear this time around is Alicia’s voice. It’s noticeably stronger and full of emotion. She’s gained better control of her lower vocal register and is able to use her voice as more of an instrument. She has a few missteps, where she can’t quite reign in her voice, but those are few and far between. On “Go Ahead,” a song about realizing what love isn’t and finding the ability to step away, there are times when her voice sounds really strained. Not to the point where it’s detrimental to the song, but it’s noticeable. But in a day and age where artists’ voices are “auto-tuned,” it’s refreshing to hear an artist’s voice “flaws and all.”

Alicia enjoys bringing the listener into her world and “As I Am” is no exception. Numerous aspects of love are addressed her. “Like You’ll Never See Me Again,” finds her seeking a deeper relationship over a hypnotic piano melody. “Wreckless Love” & “Teenage Love Affair” explore the excitement of new love. The latter is accompanied by a backdrop reminiscent of “You Don’t Know My Name.” While “Lesson Learned” featuring John Mayer is about realizing what everyone was telling you about him is true. Over the blues influenced backdrop of “Where Do We Go From Here,” addresses the decision that must be made when love comes to that fork in the road.

Sonically, “As I Am” is an intimate affair, with simplistic piano and keyboard driven melodies driving a majority of the album. More upbeat, Motown influenced songs are sprinkled in to keep things interesting. Rightfully, Alicia’s voice is the true star. The minimalistic production allows her to convey how she wants the songs to feel and she’s up to the task. The songs have a timeless quality that will allow for them to be around long after a majority of today’s music has been forgotten. This speaks highly on the quality of the album, but also exposes one its few blemishes. The intimate songs force the listener to be actively engaged throughout the listen, otherwise 2 or 3 songs can pass by unnoticed. While not the leap forward many were expecting, “As I Am” is another exceptional diary entry for Alicia Keys.

Rating: 4/5

The Brick: Bodega Chronicles

Album Review

Aftermath is at it again! Well sort of. Dr. Dre, Eminem, 50 Cent, Busta Rhymes, Obie Trice, and G-Unit are sitting this one out. It’s Joell Ortiz’s turn up to bat with the release of The Brick: Bodega Chronicles. Who is Joell Ortiz you ask? He’s the latest Brooklynite looking to make a name for his self in the rap game. Ortiz first appeared on the scene in 2004 garnering The Source’s coveted Unsigned Hype and XXL’s Chairman’s Choice. He also was featured on NBA Live 2005 after winning the 2004 EA Sports Battle. Fast forward to now and Ortiz is signed to Aftermath, has a few mixtape’s under his belt, and been compared to Big Pun. Life on easy street must be nice, right?

The Brick: Bodega Chronicles gives us a look into Ortiz’s life growing up in Brooklyn. This album was recorded while he was still looking for a deal. That means no Dre beats, no guest appearances from Aftermath artists, and no crazy marketing campaign. The Brick is officially a street album released on Koch records with no formal affiliation to Aftermath. Which could be a problem, except Ortiz is an above average MC. On songs like “125 Pt.’s 1, 2, & 4” (& 5 if you get the CD from Best Buy) Ortiz proves that he’s a lyricist and not just a rapper. These songs all log in at over 5 minutes and feature no hook, just straight lyrics. While a bit excessive in length coherent lyrical content and an engaging flow make up for it. Being Latino it’s easy to compare him to Big Pun, but Ortiz is his own man and can hold his own with almost anyone on the mic.

He proves it on songs like “Time is Money,” with Styles P and “Brooklyn Remix,” with Big Daddy Kane. On “Caught Up” he challenges young kid’s infatuation with hustling. While Ortiz admits to doing it his self, he does not glorify it and speaks on the effects that it’s had on his life. But for the most part he speaks on what he knows: everyday life in Brooklyn. Redundant at times, Ortiz’s honest lyrics and natural charisma keep things moving along. Songs like “Modern Day Slavery,” ft. Immortal Technique show Ortiz has the ability to speak on other subject matter when he wants to. Ortiz’s lead single “Hip Hop,” is the closest you’ll get to an Aftermath song on this. The three-chord piano baseline, electric guitar riff, maraca, chime, and synthesizer beat is Dr. Dre-esque. It gives you an idea of why he was signed to Aftermath in the first place.

Ortiz has a strong mic presence and good breath control, vital to any good MC. He has a good control of his actual flow as well; he knows when to ride the beat and when to take over it. His beat selection is good and the songs are sequenced well. Most songs are sample based and have a cinematic feel to them. He’s obviously is respected within the industry because of the guest artist’s he was able to get on this album. We know that Ortiz reps the 718 to the fullest, but two songs devoted to Brooklyn is a bit much. He’s able to get away with it to some degree because of his lyrical ability. He truly paints pictures in his verses and is able to come up with new ways to say the same thing. All he needs to do is expand his subject matter, because he is well on his way to becoming a star. The Brick: Bodega Chronicles is a good introduction of Joell Ortiz to the mainstream rap world. It’ll be interesting to see what he does on Aftermath debut.

Rating: 3/5