CD Review: Hip Hop Is Dead by Nas

In the title of his new album as well as in his hit single of the same name, Nas asserts that hip-hop is dead. The sheer thought of the man behind the classic album Illmatic declaring hip-hop dead sent shockwaves through the industry with artists ranging from Big Boi to new labelmates Ludacris and Young Jeezy expressing disdain at Nas's remarks. With Hip Hop Is Dead, Nas has made one of his better albums, one that proves that hip-hop has life in it yet.

A few themes pop up throughout Hip Hop Is Dead. The first theme is a feeling of nostalgia for older days and earlier generations of hip-hop. Nowhere is this more apparent than on the song “Where Are They Now.” Driven by a James Brown sample, “Where Are They Now” name checks virtually every notable rapper of the late 1980's and early 1990's. He bemoans the fact that many of these artists have been forgotten by newer generations: “Rap is like a ghost town / Real mystic / Like these folks never existed...” He also gives them praise, calling them “the reason that rap became addictive” and any artists he doesn't mention in the verses, he shouts out at the end of the song.

Producer Will.I.Am uses Nat King Cole's “Unforgettable” as the backdrop for “Can't Forget About You,” another song that continues the theme of nostalgia. Nas reminisces about the past (“Can't forget when the first rap Grammy went to Jazzy”) and looks forward a future with a “Straw hat / On the porch.” Also present on this song is the next theme prevalent throughout Hip Hop Is Dead: a frustration with the current state of hip-hop. Nas says bitterly that “Heinous crimes help record sales more than creative lines.”

The theme of disappointment with some of the current generation of hip-hop appears more prominently on “Carry On Tradition.” The song is all about continuing the traditions of previous generations and Nas uses the opportunity to talk about the way some newer artists (who remain nameless) don't do that. He chides them on their ignorance of early hip-hop (“Let's see who can quote a Daddy Kane line the fastest?”) and the way they use acclaim for their “bricks” to hate on bigger, more established names.

While the themes of notstalgia and disappointment with current hip-hop dominate a good portion of the album, much of it is just filled with music that's thoughtful and sometimes daring. An example of the latter would be “Who Killed It?” Nas, who once rapped from the perspective of a gun, attempts his best Edward G. Robinson impression to tell a film noir-esque tale on this song. Although the quality of the song is debatable, you have to give Nas credit for trying something truly different. Something like this would usually be the domain of indie rappers and you have to wonder if we'll see another mainstream rapper try something so out there.

“Black Republican” is the long-awaited collaboration between Nas and former rival Jay-Z. The end result is pretty good with the two of them showing off their contrasting styles from the hook (where Nas calls himself a “black militant” as opposed to the title) to their verses. The dramatic classical music sample adds to the spectacle.

Even though Nas titled his album Hip Hop Is Dead, the album serves to prove that hip-hop is far from dead. In fact, with all the controversy over the album title, anyone who listens to it will realize that Nas doesn't actually think hip-hop is dead. He is just frustrated with the way things are right now, just as some fans who grew up with him are. Hip-hop has survived being called a fad, censorship, tragedy, introduction to suburbia, and even police raids against mixtape DJ's. It's not going anywhere but that doesn't mean we can't demand more from it. That might really be the message of Hip Hop Is Dead.

CD Review: Fantasia by Fantasia

American Idol season three winner Fantasia is back with a slick new sound on her self-titled sophomore album. This album finds Fantasia continuing to come into her own as an artist and establishing herself as more than just a reality show contestant. Featuring a Who's Who list of top R & B producers, Fantasia is a solid album from start to finish.

The album opens with "Hood Boy," the current single featuring Big Boi of the hip-hop duo OutKast. The song is another twist on the same territory covered by songs such as "Soldier" by Destiny's Child. What makes this song more than a retread is how fun it sounds. From its catchy, sample-driven beat to Big Boi's verse (the only guest appearance on the album) and the energy Fantasia puts into singing the song, "Hood Boy" just hooks you from the start.

The same feelings you get from "Hood Boy" also crop up again on the hilariously named "Baby Makin' Hips." Producers Dre and Vidal use a horn-driven Al Green sample to provide the backdrop for this song for the girls with an actual figure. Fun is the key here again and you can't help but almost laugh (in a good way) when you hear lyrics such as Watch when they walk by / Guys get the wandering eye / They rather get smacked / Than not look back...."

There is more to Fantasia than fun songs on this album, however. When she gets serious, she's actually at her best. Songwriter Diane Warren and producer Babyface team up to provide her with the ballad “I Feel Beautiful.” Fantasia has always been known for having a big voice but on this song, she refrains from a lot of vocal operatics. By toning her voice down, it gives her a bit of vulnerability. Knowing what we do about Fantasia's life from her book and TV movie Life Is Not A Fairytale, the lyrics of the song carry a little more weight: "You tried to keep me down on my knees / I got myself back up on my feet / I found the strength to set myself free / And I feel / Beautiful..."

Other songs on Fantasia show her strong side. On "Not The Way That I Do," she chastises her man for thinking that he can get away with stuff his ex let him do. "Two Weeks Notice," one of three songs produced by Missy Elliott, has Fantasia leaving her man after feeling unappreciated. After hearing too many excuses from her man, Fantasia gets sick of it all on the uptempo "Bore Me (Yawn)."

Fantasia is a pretty good sophomore effort. She shows quite a bit of range here whether she's fun, sexy, angry, or vulnerable. With so many producers on this album, it would've been easy for her to be lost in the barrage of different approaches and sounds. However, since there is only one guest star, there's no one else to potentially muddy things up and make the album lose focus. This album shows that Fantasia is secure in how she presents herself and secure in her talent and these are the reasons why she still has a viable music career today.

Mystery Mixmania: It's All Up To You

I've been a part of Mixmania since its inception and participated in making mixes based on some cool themes (New Year's Eve, Holidays, Driving, Summer). However, the creator of Mixmania, Jim over at Patriside, has pulled a real doozy out of his hat this time around...

You get to pick the theme.

That's right, you don't have to fit your mix to a predetermined theme. You can make a mix with any damn theme you want. If you like to make mix CDs, then there is no excuse not to do it. I've started thinking about my theme and I'm leaning toward a couple of possibilities.

You have until February 14 to sign up. Check it out!

Thoughts On The New Biker Mice From Mars

Way back in 2005, I wrote about the 1990's cartoon Biker Mice From Mars, which I enjoyed watching back in the day. In 2006, a new version of the show premiered in the UK. Recently, I was able to see the first two episodes of the new Biker Mice show. Overall, I have to say that it's a pretty good show.

The first thing that makes the 2006 Biker Mice show stand out from other reboots of 1980's and 1990's series like Teenage Mutant Ninja Turtles and Transformers is the fact that it's not exactly a reboot. It's a continuation of the original series. The new show picks up 10 years after the old show ended (the old show ended in 1996, so the 10 year gap is in real time too).

The Biker Mice are on Mars and are fighting new aliens called Catatonians. I don't want to give too much away since the show hasn't yet aired in America but needless to say, circumstances happen that end up with the Biker Mice returning to Earth. The mice reunite with friend/gear jockey Charley in Chicago, which is more or less ruled by the real-estate mogul Ronaldo Rump. Rump and the Catatonians (who are led by the brawny Cataclysm and his nutty brother Hairball) join forces to stop the mice and capture General Stoker, the mice's mentor and key to their nefarious plans (and the survival of Mars).

The original show had a very good voice cast and featured a variety of talented actors including a pre-Everybody Loves Raymond Brad Garrett and a pre-King Of Queens Leah Remini. The voices of the three Biker Mice, Rob Paulsen (Throttle), Ian Ziering (Vinnie), and Dorian Harewood (Modo) all return for the new show. Peter Strauss, who played Stoker in the original show, also reprises his role. All of them slip back into their characters like they never left. With the new characters, we also get some more great voice talent. Clancy Brown does a nice job with Cataclysm and Jess Harnell (aka Wakko from Animaniacs) is hilarious as Ronaldo Rump.

The animation for the new show is very nice and takes advantage of the advances in technology in the 10 years between shows. The show is mostly 2D but uses 3D for bikes and vehicles. The 2D and 3D meld pretty well and the show doesn't look awkward. The character designs are quite different than the original show and take a little getting used to. However, the overall design of the show is nice. The show has a somewhat futuristic look to it now. The animation is pretty good and the show is animated in widescreen. I'm betting that it was done in HD, so it will probably look great on DVD.

The writing in the episodes I watched was good as well. The dialogue takes full advantage of the chemistry between the voice actors. Some of the jokes were a bit lame but for the most part, none of it made me cringe. It seems a little less violent than the original show but the story is better. The original show did a lot of multi-part storytelling (it had two three-part episodes) and this time around, the writers have created an overarching story.

I am definitely looking forward to seeing more of this show when it eventually comes to the U.S. It's a fun action show that doesn't take itself too seriously. Also, it's not anime. Don't get me wrong, I love anime but I really miss the days of good, American action shows. The new version of Biker Mice From Mars is sort of a throwback to those days and that's why I hope it finds a home whether it's on Jetix, Cartoon Network, or 4Kids TV.

Chicken! Noodle! Soup!

How do you make the silliest hip-hop song in recent memory even sillier? Have the Kidz Bop Kids do it. I swear that somewhere, DJ Kool Herc is shedding a tear.

CD Review: Once Again by John Legend

Despite its title, John Legend's new album Once Again is not a retread of the concepts found on his critically acclaimed 2004 debut Get Lifted. In fact, the sound is quite different. While the production on Once Again is modern, the sound is very retro. It's the closest we'll ever get to hearing what soul artists in the 1960's and 1970's would've made if they had 2000's era technology.

When the album starts with the song “Save Room,” you feel as though you've entered a time machine. The bass and electric organ hit you and you're transported back to the 1960's. The lyrics are sexy but not explicit: “This might just hurt a little / Love hurts sometimes when you do it right / Don't be afraid of a little bit of pain / Pleasure is on the other side...” There is even a breakdown that sounds straight out pop songs of the 1960's as well.

On “P.D.A. (We Just Don't Care),” we are taken to the 1970's. This funky love song is all about the joys of expressing affection in public. The song has a light, fun sound to it that makes lyrics about making love in places like a restaurant, a job, and “your mama's house” seem sweet-natured rather than dirty and kinky.

Hendrix is referenced on the Raphael Saadiq-produced “Show Me.” Featuring a slow, guitar-driven beat, this song has Legend singing in a higher pitch than usual and revealing a previously unheard side of himself. The influences of Hendrix and Otis Redding can be heard on “Slow Dance” with its bluesy guitar and chorus.

Not every song on Once Again tries to sound retro. “Again” will remind some of the song “Ordinary People” from John Legend's debut. Although there is more instrumentation on “Again” than “Ordinary People,” the piano is at the forefront on this song. Also, the subject matter, which deals with how Legend keeps returning to a relationship even though it doesn't work, is close to “Ordinary People.” Despite the similarities, it stands out from his hit song and is almost as good.

“Coming Home” also eschews the retro format and is one of the album's best songs. The song is sung from the point of view of a soldier away at war. It isn't political or overly dramatic and its low-key approach works in its favor. When Legends sings lyrics such as “I go to sleep and feel your spirit next to me / I'll make it home again / I pray you'll fall in love again...” you can't help but feel the emotion behind the words. This song is unlike any of John Legend's other work and it's hopefully a preview of what he does next.

Even though high-profile producers such as Kanye West, Raphael Saadiq, and Will.I.Am worked on Once Again, it doesn't feel like most modern R & B albums. It's a welcome throwback to the earlier days of soul music. A project such as this could have easily sounded like a cheap imitation of old-school music or a “neo-soul” album gone bad. What keeps Once Again from going that route is John Legend staying true to himself. While you can hear the influences of other artists in his songs, he never tries to actively imitate anyone in the sound of the music or in his singing. Even when samples are used on some songs, things are augmented enough that the song doesn't feel like a ripoff of someone else's work.

Once Again may not be as fresh to the ear as Legend's debut Get Lifted was but it's a solid album from start to finish with not a bad song to be found. It's one of the best albums released in 2006 and is worth picking up.

My 10 Favorite Albums Of 2006

The hardest part of making a year-end list such as My Favorite 10 Albums of 2006 isn't picking the worthy albums. It's narrowing them down. When I sat down and listed my favorites of the previous year, I came up with 15 albums. I won't say it was easy to whittle the list down or that I won't want to change my mind in the future, but I am happy with this list as 2007 gets started.

In no particular order:

St. Elsewhere by Gnarls Barkley: “Crazy” hooked many onto the Gnarls Barkley bandwagon but, fortunately, it was far from the only good song on St. Elsewhere. The minds of singer/rapper Cee-Lo (formerly of Goodie Mob) and producer Danger Mouse combined to create an album that was relentlessly inventive, unusual yet still accessible, and something that bridged the ideas of “urban” and “alternative.”

Fishscale by Ghostface Killah: For all the calls to do something “different,” there's something to doing what you do best and doing it well. Ghostface Killah's Fishscale didn't break new ground in the slightest. It followed the blueprint of many a Ghostface Killah album: vividly told stories of the street, wordplay that can be as great as it is hard to digest, solid soul-sampled production, and the unique personality that is Tony Starks. What made Fishscale stand out is how it was almost polished to a shine.

Future Sex/Love Sounds by Justin Timberlake: When an ambitious artist and equally ambitious producers work together, great music is usually the result. Justin Timberlake's collaboration with producers Timbaland and Danja on most of Future Sex/Love Sounds resulted in a fun, wide-ranging album that managed to win over this *NSYNC hater. Pop melded with everything from electronica to R&B without skipping a beat and Timberlake got the boybander monkey off his back.

Game Theory by The Roots: For their first outing on Def Jam, leave it to The Roots to make a real, every-song-should-be-heard-in-sequence album. While the sum of its parts was nothing to laugh at, Game Theory's real power was as a whole. It was at times hard-hitting, angry, cutting-edge, incendiary, and thoughtful. Whether Black Thought talked about the state of the country or the state of his hometown of Philly, he was on top of his game. The musical backdrops were innovative and stayed true to what the group has done in the past. The Roots can stay on Def Jam as long as they like if they keep putting out albums this good.

Hell Hath No Fury by Clipse: Despite the almost sadistic way their record company delayed their new album, Clipse did not disappoint with their sophomore effort Hell Hath No Fury. The Neptunes brought some of their best beats of 2006 on this album while Clipse's lyrics and delivery actually lived up to the great beats. We may have heard songs about the coke game before, but it's rare to find songs that are as well-made as these.

King by T.I."": If T.I. wasn't the “King Of The South” before releasing King, he certainly made his case with that album. T.I. showed his range here whether it's the sweet-natured guy of “Why You Wanna,” the angry, explosive guy of “I'm Talkin' To You,” the playa on “Stand Up Guy” or the reflective man on “Live In The Sky.” King was quite simply a very good mainstream hip-hop album that effectively introduced more people to the King.

Once Again by John Legend: Whenever you make something that's retro in style, it's very easy to screw it up and very difficult to get it right. Once Again had John Legend doing the latter. It sounded like something artists from 1960's and 1970's would do if they had the technology from today back then. Legend wisely didn't try to imitate those artists and just did his own thing in their spirit. This is the current R & B album that your parents will want to borrow.

Food And Liquor by Lupe Fiasco: Lupe Fiasco's Food And Liquor showed that seeming contradictions are not weaknesses but strengths instead. You can be from the west side of Chicago, skateboard, and like anime. You can name an album Food And Liquor and not make a “hood” record. You can be a “backpacker” rapper and still be entertaining to the larger hip-hop audience. Lupe and his album defied expectations and as a result, they both stood out from the pack.

The Eraser by Thom Yorke: Although it was not as good as a proper Radiohead album might have been, The Eraser, Thom Yorke's solo debut, was very good nonetheless. Unlike some of Radiohead's previous albums, Thom Yorke's voice was front and center on The Eraser. Frankly, it was just nice to hear his voice on tracks like “Black Swan,” “Harrowdown Hill,” and the title track. If this album was just a stopgap before a new Radiohead album then it was a nice stopgap indeed.

Donuts by J. Dilla: If I were to name my favorite album of 2006, this would be it. The final album released before J. Dilla's death in February, it's a superb collection of 31 hip-hop instrumentals. There's more variety in this collection of beats than most producers have in their entire careers. When I sit down and compose my thoughts about this album, you'll have a better idea why it's so great. However, I will say that it breaks my heart every time I listen to it because of how much potential was lost with Dilla's passing.

Now, the best of the albums that didn't make my top 10:

Release Therapy by Ludacris: Luda plays it a bit more serious and people finally realize how good an artist he is.

Ten Silver Drops by Secret Machines: This was the only rock album I bought in 2006 and that alone should tell you that it's a good album.

The Warning by Hot Chip: A solid (and better) follow up to their debut album Coming On Strong.

The Breakthrough by Mary J. Blige: Technically released in 2005, this album was Mary's best in a while.

Honorable Mention to Trans-Canada Highway by Boards Of Canada: This would most certainly be on my list if it were a full-length album and not an EP.

These are the albums that I'm still in review mode on and were not considered for my year-end list:

Hip Hop Is Dead by Nas: So far, so good.

Kingdom Come by Jay-Z: Not so fast, Jay-Z.

The Evolution by Ciara: This one has a fun sound to it.

Fantasia by Fantasia: Pretty good, actually.

More Fish by Ghostface Killah: Haven't listened to much yet but I'm guessing it's not better than Fishscale.

Tha Blue Carpet Treatment by Snoop Dogg: Same situation as More Fish.

Varcharz by Mouse On Mars: The return to the bleeps and bloops is surprisingly good so far.

What A Way To Start The Year

2007 seemed like it was going to start like every other year until very early Thursday morning. My stomach was in bad shape late night Wednesday/early Thursday and I thought it was another case of me eating too much in a given day. Instead, it ended up being a lot worse.

I got diarrhea that steadily got worse. I started throwing up at nearly regular intervals (and I hadn't thrown up once in 2006!). My stomach never felt any better and I hovered between the bed and the bathroom nearly all day Thursday. I had to call off work for only the second time at my current job. When it got to the point where I was trying to throw up and there was nothing in my stomach, my mom suggested I go to the hospital.

For the first time that I can remember, I went to the emergency room. I got an IV of fluids and medicine for my nausea. I was there for a few hours and eventually got discharged. I then spent Friday recovering (I still had diarrhea) and had to call off work again.

Now, I'm feeling better although I'm a little worried that the bug I'm fighting hasn't disappeared quite yet. My mom ended up catching a bug similar to mine, although it fortunately didn't affect her as badly. All told, it was not exactly the best weekend for me.

One interesting thing to note is that my sickness was only one of three big things that happened on Thursday. The rental car my family was using since our car finally kicked the bucket was vandalized. Somebody threw a rock and broke out the back window. Since we had insurance, we were okay. Then, later that day, we actually made a deal for a new car, a 2006 Kia Optima that we officially got on Friday.

New Year's Mixmania

It's Mixmania time again and this time around, the theme was a New Year's Eve mix. I decided to make a double disc mix that would not only serve as something fun to end 2006 with, but also be a recap of some of my favorite songs of 2006.

Disc "E": This disc was called "E" because a good amount of the music was electronic.

1. Hot Chip - “Careful”: This song starts out quiet and unassuming then becomes crazy and upbeat. It was the perfect beginning to Hot Chip's sophomore album The Warning and I thought it would be a good thing to start this disc.

2. The Chemical Brothers feat. Bernard Sumner - “Out Of Control”: I've always loved this song and it just seemed like a good, fast song to put on here.

3. Justin Timberlake feat. Timbaland - “Sexy Back”: This track pulled a very nice crossover move to urban radio despite the fact that it's really an electronic pop song. Although I'll be glad when people stop saying they "brought sexy back," I really enjoy this song.

4. The Go! Team - “Huddle Formation”: This group is the epitome of upbeat, happy music. I decided to use this song in part because it's been used in a lot of commercials lately.

5. Clipse feat. Slim Thug - “Wamp Wamp (What It Do) (Pistol Pete Remix)”: This remix is the complete opposite of the original in sound and I think it kicks ass. Hear this remix at Pistol Pete's Myspace.

6. Basement Jaxx - “Take Me Back To Your House”: Country and house music...together? My word!

7. Yoko Kanno feat. Ilaria Graziano - “From The Roof Top ~ Somewhere In The Silence (Sniper's Theme)” from Ghost In The Shell Solid State Society: Yoko Kanno fans were eagerly awaiting the release of this song (usually called just "Sniper") after hearing it in GITS:SAC 2nd Gig. When I heard it for the first time, I thought their anticipation was justified. The intro portion manages to help and hurt the song at the same time. I tried removing the intro for this mix, but the song without the intro didn't sound right. Weird.

8. Mouse On Mars - “I Go Ego Why Go We Go”: Upon listening to Varcharz, the new album from Mouse On Mars, this song stuck out immediately. What an electronic groove.

9. Tigarah - “Girl Fight”: Take MIA, make her Japanese and add a little bit of semi-crunk flavor, and I guess you get Tigarah.

10. Hot Chip - “Over And Over”: Another Hot Chip song with this one being the one you probably have had a chance to hear somewhere. I was very close to putting a mashup version of this song featuring Pitbull's lyrics from "Shake" on here but decided against it.

11. The Chemical Brothers - “Loops Of Fury”: I bet people go nuts when they hear this song in a club.

12. Various - “Day At The Academy” from the XBOX 360 game Enchanted Arms: This song begins the "cool down" portion of this disc. One of my favorites "finds" of 2006, you can find a link to download this track in a Sterfish Shares post.

13. Boards Of Canada - “Skyliner”: The cool down continues with a really cool BOC track.

14. Basement Jaxx - “Lights Go Down”: Something about this song seems like it should be the last song played at a club.

15. Guy Lombardo & His Royal Canadians - “Auld Lang Syne”: A "bonus" track of sorts, this is the song we all try to sing when we ring in the new year. This instrumental version is laidback and a nice disc capper.

Disc "H": This disc was called "H" because it's mostly hip-hop.

1. The Roots feat. Dice Raw of Nouveau Riche and Malik B. - “Here I Come”: Loved this song the moment I heard it.

2. T.I. - “I'm Talkin' To You”: This is a blistering attack of a song from the beat to T.I.'s (or should I say Tip's) aggressive flow.

3. Gnarls Barkley - “Smiley Faces”: This song is my favorite track from St. Elsewhere and it proves that there is more to that album than the track you couldn't avoid in 2006.

4. J. Dilla - “Workinonit”: J. Dilla's instrumental album Donuts, from which this track came, is my favorite album of 2006. I'll go more into detail in my best albums of 2006 post and my overdue review of the album, but let me say that there is no album from 2006 that I have listened to more times than that one.

5. Lupe Fiasco - “I Gotcha”: This song took a little bit to grow on me since The Neptunes beat is one of their most complex, but now I really like it.

6. Gwen Stefani - “Now That You Got It”: I just randomly found this song on a blog I frequent and I like it a little more than current single "Wind It Up." I predict that Swizz Beatz, the producer of this song, will have a big 2007.

7. OutKast feat. Scar and Sleepy Brown - “Morris Brown”: My favorite track from OutKast's Idlewild and pretty much one of the only ones upbeat enough for this mix.

8. Ludacris - “Girls Gone Wild”: This Neptunes production is 10 times better than "Money Maker." I also love Luda's flow on this one.

9. Justin Timberlake - “Summer Love”: Gotta love the simplicity. Good beat, simple lyrics, and good singing. Oh, and a good beat.

10. Beyonce - “Green Light”: There is only one reason why I put this song on this mix: the horn breakdown.

11. J. Dilla - “Lightworks”: One of the best tracks off Donuts, this song is really something special.

12. T.I. - “Stand Up Guy”: Too bad this song wasn't released as a single. It's a really good club song.

13. Gnarls Barkley - “Crazy”: The song you couldn't avoid in 2006 I mentioned above. Not that I'm mad that you couldn't avoid it.

14. Clipse feat. Slim Thug - “Wamp Wamp (What It Do)”: Listening to the original after hearing the Pistol Pete Remix on the "E" disc really makes you appreciate how different these two versions are.

15. DJ Shadow feat. Q-Tip and Lateef The Truth Speaker - “Enuff”: One of the only good songs off The Outsider.

16. Raconteurs vs. Nelly Furtado - “Steady As She Goes/Promiscuous (A-Trak Remix)”: I enjoyed this mashup remix a lot during 2006, although in hindsight, it probably fit better on the "E" disc.

17. Lupe Fiasco feat. Jill Scott - “Daydreamin'”: Ah, the cool down portion all contained in one song. I really like this song and I wish it had gotten nominated for a Best Rap/Sung Collaboration Grammy.

Side Note: I really, really wish I had put Christina Aguilera's "Ain't No Other Man" on one of these discs.

Well, that sums up my discs. Thanks to Jim for another great Mixmania!