Lifestyle brand BarrelHouseBKLYN releases the Spring/Summer 2010 collection of their new line “Concrete Heavens.” These tees are inspired by the edge and energy of New York City a.k.a. the concrete jungle. Concrete Heavens is BarrelHouse’s first line.

BarrelHouseBKLYN is a growing curator of culture within their community, spreading positivity through music, fashion, art, poetry, etc.

Check out their latest shoot, taken in the DUMBO section of Brooklyn, New York.

Dope.

WORDS BY KIAH MCBRIDE

At first glance, Shawn Chrystopher is the epitome of a California native. Skinny jeans and t-shirts from an expansive color palette adorn his small frame coupled with a “too-cool-for-school” vibe.  There is something about him that sends you cyber-surfing his name.  It could be that his infatuation with cartoons and jaunty demeanor or his staunch college boy bravado. Whatever the case, you find that Chrystopher brings a dProxy-Connection: keep-alive
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ferent perspective to west coast music. While his sound does allude to strong Lupe Fiasco and Kanye West influences, Chrystopher offers his own story and musical creations—he often produces his own tracks—that give him mainstream appeal.

It’s clear that Shawn Chrystopher isn’t your typical Cali artist. He grew up in Inglewood, CA listening to punk rock artists like Green Day, and graduated from high school at the age of 16. He scored a four-and-a-half year scholarship to the University of Southern California and by 2009, landed an ad campaign with LRG clothing line for their 10^th Anniversary.  Not bad for a kid in glasses.

His first mixtape titled Keep Your Classroom Vol 1. received over 10,000 downloads and was an introduction to what is now considered the “new age” sound of educated artists. In August 2009, he released A City With No Seasons—an album that he hoped would separate his sound from artists that he’s often grouped with like Wale.

Now Chrystopher is back with his upcoming EP, The Audition, scheduled for a March 23 release date. Unlike previous projects, Chrystopher comes with more light-hearted rhymes that will surprise fans accustomed to his intellectual lyrics. His first single, “Like A Kid Again,” boasts a fun, relatable sound, and tips a hat off to the art imitates life adage. Always ahead of the curve, Shawn Chrystopher is poised to take on the ever-evolving music industry and change the image of west coast hip-hop.

Check out his single “Can’t Take That From Me” off of his EP, The Audition:
Can’t Take That From Me – Shawn Chrystopher by  25Mag

25 Magazine: What separates your sound from other hip-hop artists old and new?

Shawn Chrystopher: I think of music as fingerprints. I don’t think that anybody can make the same music. I think that if you have a piano, a guitar, and a drum set in a room and you put 15,000 bands in that room one after another, neither one of them will make that same exact song. Even though you have the same instruments you all have different songs. I think with me, my music is different because it’s mine. I have a story that nobody else can tell because I’m talking about my life. When it comes to sound, I grew up in Inglewood, CA so I’m five minutes from some of the richest people in California and I’m five minutes from some of the poorest people, so I would listen to everything. I used to be really into Green Day and then I would listen to Bone Thugs-N- Harmony. I was really into 2Pac and I listened to John Mayer.  So you have all of that in me; I just mixed it all together so I think it’s unique because it’s mine.

25: In one interview you said that you studied rap like you would study your schoolwork. Who and what specifically did you study?

SC: I would study what songs were popular and why they were popular and which songs weren’t.  I remember one year when Juvenile’s “Slow Motion” was the number one song in the country. I was like, this isn’t a club song and it’s not up-tempo; it’s so hood but it’s the number one song on the Billboard. I would just sit and try to figure out why certain songs were big and others weren’t. Why certain artists make it and why other artists’ second album destroyed them.

Like A Kid Again – Shawn Chrystopher by  Jabari

25: Your latest single “Like A Kid” off your EP The Audition is a fun tribute to going back to your childhood days. What was your life like as a child?

SC: I have a seven-year-old sister but I was practically out of the house by the time she was born, so I grew up an only child.  I was a Latchkey kid so I would come home and my mom would still be at work so I had to entertain myself. TV really stimulated my mind because I would watch everything and I would learn how to talk, how to walk, how to act, and how to dress. Other than TV I had some of the best neighbors. I still talk to my neighbors that I grew up with as a kid; we’re really good friends.  I grew up in a house so I had a backyard, was able to go out and play, and have block parties. That made my childhood fun because I could ride a bike. That’s why I started the song off “I used to ride bikes” because I was the kid on the bike in my neighborhood. I rode the bike from sun up to sun down; I had nowhere to go most of the time I just liked bikes. Basketball and riding bikes was my childhood, and cartoons.  Actually, that still is my life. I need to grow up!

25: What should we expect to hear on your upcoming EP The Audition compared to your other EPs like No One Knows You?

SC: Really dope shit. I tried my best to create a different sound that I’ve never done before. My past music was really intellectual and I tried my best to not be like anybody in my area, and sometimes I went over people’s heads.  I tried to over think my music too much in order to stand out when really I could just be myself and stand out. So this project is more me than I’ve ever done. I have fun with it, tell jokes on songs—I personally don’t take life too seriously because I like to have fun. I think that it’s something that people can relate to; people can have fun with it and play it in their cars. I think people really are going to fuck with it.

25: Are you going to pursue production more than being an artist in the future?

SC: Not more so than being an artist but production can carry me a long way because I can produce until I’m dead. I can’t rap when I’m 50. I will never turn my back on either one of them—I love them equally because I love to perform, I love to be in front of the crowd, but I also like to create music. As a producer, the same way a painter paints a blank canvas, we make songs out of silence. We sit in the studio with nothing and we create something that people either love or hate, but at the end of the day we started from silence. That’s something that I thank God every day that I have the ability to do—that I can create art from silence. I would never stop producing or rapping; I would do both until people get tired of hearing me rap and then I can produce the rest of my life. 

Photo courtesy of Elitaste Management

25: What impact would you like to make in hip-hop music?

SC: The whole purpose of doing what I do is that I want people to see the west coast in different light. I think that with movies like Menace II Society and Boyz in the Hood people automatically think that’s all we are, especially in Los Angeles.  What the gangster rappers did for L.A., like 2Pac put us on the map, I want to do for L.A., just on the other side of the spectrum.

25: Where do you see your self musically in the next five years?

SC: I think I will already have at least one Grammy or Grammy nomination, I will be on the cover of a few magazines, and have foot in the door for pursuing fashion. I really love fashion. I don’t just want a clothing line; I want to design for high end line that’s already out. In five years I think I’ll be able to travel, meet people, and go to fashion shows. Then I’ll be able to do both music and fashion.

25: What is something that fans might not know about you?

SC: I watch TV on mute. It started out when I was little. I used to be up late watching TV on mute because I didn’t want my mom to know.  When I would watch TV on mute I would make up my own stories with dialogue and everything. It was all in my head and had nothing to do with the show, but it made me feel like I wrote it. Now people come over my crib and point out that the TV has been on mute for two hours, but I don’t even notice anymore. I love watching TV on mute because I can still do other things and at the same time create my own episode.

Check out Shawn Chrytopher’s commercial for upcoming EP, The Audition:

The Audition – Shawn Chrystopher | Download Here

Shawn Chrystopher releases EP, The Audition. Unlike previous projects, Chrystopher comes with more light-hearted rhymes that will surprise fans accustomed to his intellectual lyrics. His first single, “Like A Kid Again,” boasts a fun, relatable sound, and tips a hat off to the art imitates life adage. Editor, Kiah McBride recently interviewed Shawn Chrystopher, read it here. Download and tracklist after the jump!

The Audition – Shawn Chrystopher | Download Here

25 Magazine catches up with D.C. band, The Five One between sets at the “Our People, Our Haiti” benefit concert at the Warehouse Loft to talk upcoming EP, Deuce Day World. The video features their oldie but goodie, “Sak Passe.” Listen to The Five One’s last few LPs here!

Check out the latest mixtape release from rapper Quest, How Thoughtful. The mixtape is mixed by DJ RTC of recent Closed Sessions fame, the project has one feature (sort of) and is a showcase of the teenaged emcee’s developing lyricism. Download and artwork after the jump!

Quest – How Thoughtful | Download Here

Photo courtesy of eightyocho.com | Eric Vogel

WORDS BY LAUREN MCEWEN

Cosigned by long-time friend, Kanye West and equipped with a nice flow, a gift for production and a hyphen in his name that he takes very seriously, 88-Keys is gunning for a spot among hip-hop’s elite. His first album, The Death of Adam, was a feature-heavy tribute to a fictional friend named “Adam,” who allowed his love and lust for women to lead him to his demise. Executively produced by West, 88-Keys’ debut was a virtual roll call of musical talent. Artists including Kid Cudi, Phonte of Little Brother, J*DaVeY, Bilal, Redman, Shitake Monkey and of course, Kanye West all paid their respects to Adam, the fallen “everyman.”

After the video for his first single, “Stay Up! (Viagra),” featuring Kanye West, began popping up on video playlists, 88-Keys gained a considerable amount of buzz in the music world. The Death of Adam made it’s way onto a variety of top albums lists, including MySpace’s “Top 50 Albums” and AllMusic’s “Top Hip Hop Albums.”

88-Keys’ latest song “Baggage Claim,” produced by multi-platinum talent Needlz, is themed after ABC’s hit show Lost, shows that Keys has more hits to offer hip-hop. He is currently working on a follow-up album to Adam and it should not disappoint.

Check out his new single, “Baggage Claim”:

Baggage Claim by 88-keys

25 Magazine: When did you decide to pursue a career in music?

88-keys: I guess it was ’97 or ’98 when I first got paid for my music, after doing it for a couple of years. I got about 700 or 900 bucks for selling my very first music that I ever made on a machine that I still use to this day. So I was like, “Ok, so, this is how this is going down. I see.” So I decided to make music my life.

25: Who are your major inspirations?

88-keys: Overall, my inspirations are my brother, Dr. Anthony K. Njapa, Q-Tip, Ralph Lauren and Pete Rock.

25: What’s behind your Polo obsession? Just loving the brand?

88-keys: It’s like you can’t go wrong with Ralph. I started buying the Polo brand back in ’91, but back then I was still buying other brands, but I always noticed that I was spending a long time rummaging through other people’s brands, and always coming up short because I didn’t really like the stuff, but by the time I went to the Ralph Lauren Polo section, of the department stores I used to shop in I couldn’t even decide which ones to pick because they were all fresh.

Finally I just said, “Why am I wasting my time trying to shop with other brands when I don’t love their clothing,” but I always love Polo stuff, so that was it, since ’92 until now. And then since ’06 is when I decided to wear Polo from head to toe. I don’t own any Nikes or whatever cats are wearing now days, Supras. I don’t own any New Era, or New York fitted hats, or anything like that. It’s just all Ralph Lauren Polo.

25: What made you choose dedicate entire debut album to your friend?

88-keys: It’s a story that everybody knows, and everybody is familiar with, but I felt like that story hadn’t been told through music in such detail. Sure, there are love songs, of course. There are songs about meeting that special someone. There are even songs about catching STDs out there, I’m sure, but I don’t think anyone has pulled it off quite the way I have: making the story very concise and fluid, almost.

25: Your bio on your website said that some of his other friends were upset that you dedicated your entire album to him. Why do you think that they feel that way?

88-keys: My bio is actually just a play on my album. Anything regarding myself on my bio is all true, but Adam is actually a fictional person, but he’s everybody. I do have friends who went through the same stuff that Adam went through, and I feel that every man has gone through some, if not all, of what Adam went through on my album—like what he actually went through physically and thought processes and his emotions.

And I feel that every woman of age knows an “Adam” in their lives. Whether they dealt with that person or their homegirls went out with that person and they were trying to steer them clear of that person. Adam could be mine and your father. So, Adam is every man in one way or the other.

Photo courtesy of eightyocho.com | Eric Vogel

25: How does it feel to be a family man breaking out into the music industry? Hip-hop isn’t always the most family-friendly of genres?

88-keys: I’m a father of two and a husband of one. That’s one of the reasons that I made the album because I’m trying to restore the traditional family unit. It definitely has its downsides. I don’t work on my music as much as I used to because I have other obligations to my wife and my daughters, but I wouldn’t trade it for anything in the world. I love them, and we plan on making more to add to the clan.

We’re actually working on a schedule. The schedule has allowed me to have three free days to work, and then my wife helps out as often as she can, like holding the kids down while I try to bring home the bacon. But she brings in bacon, too. She actually might wind up bringing home more bacon than I am, because she’s awesome and she has her creative business going on that she started.

25: Doing what?

88-keys: I’ll just say that it deals with photography. My wife is a self-taught photographer. She’s pretty dope. She has a website up. She met another woman who shares her interest and is a self-taught photographer. They clicked and formed a business plan, and it’s crazy. I think she might wind up making an “M” before I do, to be honest. But we’re married so, what’s mine is hers and what’s hers is mine.

25: What’s your favorite song on your entire album?

88-keys: My favorite song would be numbers 1 through 14. Had you asked me the same question before Kanye came in as executive producer, I would have said a song that no longer appears on the album, and everything else was secondary. But now, that the song was taken off I just love every song as much as the previous one. Yeah…my album’s pretty dope.

25: Who are three people that you would love to collaborate with in the future?

88-keys: Michael McDonald, Lupe Fiasco and, had he not passed so suddenly, I’d like to say the late, great, J-Dilla.

25: Do you have any plans for a tour in the future?

88-keys: Yeah, my management is working to get a meeting with a very well-known, reputable agency, but it’s been pretty hectic. The agency actually put me on tour with Kid Cudi, Asher Roth and B.O.B., and through them I also did a show with Lupe Fiasco a little while ago at Governors Island. As far as getting more touring gigs, that’s kind of up in the air right now. I’m pretty sure it’s gonna happen, but we just have to get the meeting. I’m actually happy that I’m not on the road right now because now I’m working on my next album, my next mixtape, and a bunch of projects, like some feature verses that I owe people, and my next beat CD—so I am a busy man!

25: Do any of your other projects have themes to them?

88-keys: They will. My next album most likely will, but I haven’t really decided yet. But I will say this—it’ll be dope! You heard it here first, folks.

25: Do you have any advice for other people who want to break into the music industry?

88-keys: Yes, don’t do it! Stay your ass in school! No, seriously. Be honest with yourself. That’s first and foremost. If you’re a rapper, and you know you’re not rapping as well as a Consequence, or a Lupe, or Kanye, or whoever. If you’re nowhere near their level of freshness, work on it behind closed doors, but don’t start putting songs up on MySpace, like “Yo! I’m the next Kid Cudi!” Be honest with yourself.

I have a feeling that people actually know that they’re not that fresh, but they’re just, like, throwing pasta at the wall. If you’re not that fresh then you’re just wasting people’s time. For producers, it’s the same thing. If your beats aren’t that crazy, keep working on it and actually surface when you have something buzzworthy. I mean, music is all a matter of opinion, but there are some people who should just know that they’re wack. I’m not saying hang it up completely—well, there does come a time when one should hang it up completely—but don’t like puff your chest out when there’s no air in your lungs.

For more on 88-Keys, check out www.eightyocho.com.

Peep 88-Keys’ video for “Stay Up (Viagra)” feat. Kanye West:

Check out Bun B’s latest project, No Mixtape. Tracklist and download after the jump!

1. Intro
2. On To The Next Year
3. Stupid Trill
4. Trill OG
5. 2 Damn Trill
6. Trill Gladiator Snippet
7. No Mixtape
8. Transform Ya
9. One King
10. Don’t Say Shit
11. Countin’ Money
12. I Went In
13. Adrenaline Rush
14. (2)DopeBoyz
15. Coocoo
16. Greatest of All Time
17. Mr. Hit That Lick
18. Press Play
19. Big Dick Chaney
20. I Am
21. I Got Cake
22. Play Cloths
23. Bag Music
24. I Made It
25. The Champion
26. Put It Down
27. Outro
Bonus: Pants On The Ground

Bun B – No Mixtape | Download Here

Shouts to 2dope

The Five One covers Wale’s “Pretty Girls.” Download and stream after the jump!

“Say girl ain’t no time to play girl/You can keep your friend I don’t mind a gay girl”

An “acoustic driven” cover off their upcoming EP Deuce Day World.

It’s different, consensus?

Badu’s New Amerykah, Part II: Return Of The Ankh will drop Feb. 23. Tracklist and Lil Wayne collab track after the jump!

1. 20 Feet Tall
2. Window Seat
3. Agitation
4. Get Money
5. Don’t Be Long
6. Love
7. Umm Hmm
8. Fall In Love
9. Incense
10. Out My Mind Just In Time (Part 1) (Undercover Over-Lover)
11. Out My Mind Just In Time (Part 2)
12. Jump In The Air

“Jump in the Air and Stay There” Ft. Lil Wayne live rip via 2dope. The final version of the track is rumored to feature 10 rappers.

We couldn’t resist! Talk about 99 problems…

Brooklyn strategist Mike Arauz designed the infographic as well as a chart detailing who would be interested in it. We fall in the geek/hip hop sector, haha!

Check out 25’s unsigned and undiscovered series, “The Breaks” featuring Poe Picasso.

Words by Tray Laws |Photo Courtesy: Poe Picasso

In 2006, Poe Picasso picked up his pen and began writing rhymes that he eventually recorded a year later. Once his project was finished, the Brooklyn rapper only shared his music with friends. He had no intentions of releasing it for the world to hear. But his friends felt the heart Picasso sculpted into his music, so they pushed him to release it publicly. Those tracks became Exhibit A: The Real Hip Hop Project, released in January 2009. With Exhibit A, Picasso wants to prove that New York still has more to say. His flow is equipped with appeal, consistency, and intelligence. On the track “She Cries,” Picasso raps maturely about the many issues of Mother Earth, and how the people are contributing to her pain. On “Waste of Lead,” Picasso aggressively gives his view on the state of hip-hop and that it needs to be saved. This mixtape, a compilation of respect demanding, lyrical, feel good hip-hop, is a good start for Picasso as he makes his contribution to the ‘Hip Hop Museum.’

Although it took him two years to put out his first “Exhibit,” Picasso weighed his artistic scale, and realized he was heavy enough to put out Exhibit B: Manifest Destiny in November 2009. Picasso is aware of the load he carries in his aim to be the best out of New York. The city is home to some of the most well known rappers: Biggie Smalls, Jay-Z, and Nas. Yet, while proving he is worthy of being in the same realm as his predecessors, Picasso has figured out how to do it his way. The rhymes Picasso conceptualizes, paint the picture of his city in a different hue.

25: The name Poe Picasso definitely grabs attention, how did you develop the stage name?

Poe Picasso: It was simple. The Poe part I came up with, and the Picasso part my friend came up with. Me and my friends always use famous names or names of influential people; he suggested adding Picasso on the end of it and it just made sense. The Poe Part is from Edgar Allan Poe and the Picasso part came from Pablo Picasso.

25: A lot of your fellow New York Rappers talk about The Big Apple in their rhymes, how did the city that never sleeps influence your sound and your Mixtape Exhibit A: The Real Hip Hop Project?

Picasso: New York was the main influence. New York was basically known for its lyrics that had some kind of toughness behind it. So, Exhibit A would just be a re acquaintance with New York; letting the people know that there are people in New York who are still lyrically in this who can make it. Plus, growing up in New York you have to, well not everyone, carry a certain prestige. I cant say I’m from New York and people hear my music and think ‘nah you don’t fit in that realm.’ I think that’s what motivated me more to push it to the next level.

25: In your song “Bask in My Glory” you say “the Internet makes a loser feel important,” and “Since when was it cool to be a lame, cornball, or a nerd, but I guess that’s what works.” What did you mean by those lines?

Picasso: Basically, when you’re online its different from being in person. When you’re online you can do and say whatever because you’re behind a monitor and no one can see you. So they can post stuff with no real credentials or post stuff in whatever look that works for the moment. Being yourself just doesn’t work anymore-now you have to have a story. Before, what made you stand out was your specific flow. Now it’s about what you’re wearing and what kind of watch you have. The music has become the secondary element.

25: On your Myspace page bio you describe yourself as a Messianic (mes•si•an•ic) Adj. 1. Relating to the belief that someone or something will bring about a complete transformation of the existing social order. How will you achieve this message through your music?

Picasso: I do so by keeping it as honest as possible. You can tell when a person is just rapping to rap by how many ‘cool lines’ they try to write. I write in honesty so I don’t feel like I’m just writing. So, If I’m keeping it as honest as possible and people feel that then the change has began and the message spreads. The way I use my words when I write, it’s poetry and that’s where the art form takes shape. I always have a message I’m trying to convey because as artists we have people that listen to our music and internalize the message we’re trying to convey. We’re the voice of our generation so it’s important for our listeners to get the message.

25: What’s your plans in the near future and where do you see the Poe Picasso brand in 5 years?

Picasso: My plans for the future are to be the number one artist. The best. If I’m not the best then I’m doing something wrong. As far as the Poe Picasso brand I see it being on the forefront carrying on the art form. I want my name to be the staple of New York, The flagship artist like when you think New York you think Poe Picasso. I know that sounds a little far fetched but that’s what I’m working for.

25: Anything else you would like to add?

Picasso: My next project, Exhibit B is one of the best bodies of work about to break. I’m very competitive and I’m not OK with being just OK and a lot of artists are OK with that. I think the healthy competition is lacking, not a beef type of thing, but by being the best it would push other artists to be the best.

You can find Poe Picasso’s Exhibit A: The Real Hip Hop Project and Exhibit B: Manifest Destiny at myspace.com/poepicasso

Fuze the MC remixes Drake’s “Scriptures.” Download/stream after the jump!

Scriptures – Drake Ft. Fuze | Download here

NPR has released their list of the 50 Most Important Recordings of The Decade. Rap and R&B only accounted for about a dozen and included albums from the usual suspects, Jay-Z and Beyonce as well as the less expected, Little Brother. See the complete list after the jump.

The 50 Most Important Recordings Of The Decade

01. John Adams: On The Transmigration Of Souls
02. Animal Collective: Merriweather Post Pavilion
03. The Arcade Fire: Funeral
04. The Bad Plus: These Are The Vistas
05. Beyonce: Dangerously In Love
06. Bon Iver: For Emma, Forever Ago
07. Bright Eyes: I’m Wide Awake, It’s Morning
08. Burial: Untrue
09. Clap Your Hands Say Yeah: S/T
10. Kelly Clarkson: Breakaway
11. Coldplay: A Rush Of Blood To The Head
12. Danger Mouse: The Grey Album
13. Death Cab For Cutie: Transatlanticism
14. The Decemberists: The Crane Wife
15. Eminem: The Marshall Mathers LP
16. The Flaming Lips: Yoshimi Battles The Pink Robots
17. Osvaldo Golijov: La Pasión Segun San Marcos (Saint Mark’s Passion)
18. Green Day: American Idiot
19. Iron And Wine: Our Endless Numbered Days
20. Jay-Z: The Blueprint
21. Norah Jones: Come Away With Me
22. Juanes: Fijate Bien
23. LCD Soundsystem: Sound Of Silver
24. Lil’ Wayne: Tha Carter III
25. Little Brother: The Listening
26. M.I.A.: Kala
27. Yo-Yo Ma: Silk Road Journeys: When Strangers Meet
28. Mastodon: Black Stars
29. Jason Moran: Black Stars
30. OutKast: Stankonia
31. Brad Paisley: 5th Gear
32. Panda Bear: Person Pitch
33. Robert Plant & Alison Krauss: The Rising
34. The Postal Service: Give Up
35. Radiohead: In Rainbows
36. Radiohead: Kid A
37. Shakira: Fijación Oral, Vol. 1
38. Sigur Ros: ( )
39. Britney Spears: In The Zone
40. Sufjan Stevens: Illinois
41. The Strokes: Is This It
42. The Swell Season: Once Soundtrack
43. Ali Farka Toure & Toumani Diabate: In The Heart of the Moon
44. TV On The Radio: Return To Cookie Mountain
45. Various: Garden State Soundtrack
46. Various: O Brother, Where Art Thou? Soundtrack
47. Kanye West: The College Dropout
48. The White Stripes: White Blood Cells
49. Wilco: Yankee Hotel Foxtrot
50. Amy Winehouse: Back To Black

We think some notables are missing from the list, what do you think?

We’re a little late with this one (darn spam!) but check out a track from  S-Preme’s The Sicktape: Volume 2.  Stream and download after the jump!

“V.I.P.”  Ft. Roisan Murphy | Download Here

New Quest track/cover of A Tribe Called Quest classic, “Lyrics to Go” (Prod. by M. Will The Shogun), stream and download after the jump!

Download Here

“Lyrics to Go” is a track off of Quest and M. Will The Shogun’s upcoming project, The Reason, expected to drop in the first quarter of 2010.

Click HERE to get on the list.

25 Magazine’s Letese Clark gives Mariah Carey’s 12th album Memoirs of an Imperfect Angel, a first listen.

Words by Letese Clark

Mariah Carey is back with her 12th studio album, Memoirs of An Imperfect Angel. Produced by Mariah Carey, The Dream, and Tricky Stewart, the album delves right into the love entangled pages of a diary, with entries on mostly heartache and good for nothing men.  Carey reminisces on “falling asleep on the phone and skipping school” in a classic high school love tale on the track “Candy Bling.”  On the track “H.A.T.E.U.,” Mariah can’t wait to hate the one man she’s always loved. The supersongstress concludes the album with “I Want to Know What Love Is,” an ode to knowing the highs of real love.  Memoirs of An Imperfect Angel is a heart tripped out on the ups and downs of love from beginning to end, and will definitely have the listener’s heart reminiscing on memoirs of their own.

1.  “Betcha Gon’ Know”:  It’s sweet, sweet revenge, for Carey in her opening track. Her man needs to watch out because she’s out to make him pay for the wrongs he’s done to her.

2.  “Obsessed”: The first single off the album, complimented with a music video poking fun rapper Eminem, is an aggressive Carey with straightforward lyrics assisted with an up-tempo beat.

3.  “H.A.T.E.U. (Having a Typically Emotional Upset)”: The relationship is over but letting go is so hard. This track is a soulful sequel to “Shake it Off” from The Emancipation of Mimi.

4.  “Candy Bling”:  Carey takes a trip down memory lane as she reminisces on a teenage love affair.

5.  “Ribbon”: “You got me wrapped up, packed up Ribbon with a bow on it.” Carey’s sold on someone’s love, is not going anywhere, and she is proud of it.

6.  “Inseparable”:  Another track about love gone wrong and hearts tossed to the side.

7.  “Standing O”:  Rihanna’s “Take A Bow” comes to mind as Carey sings to her cheating ex, “So cheers, toast, bravo to you.  Cus you’re the man of the hour.”

8.  “It’s a Wrap”: Mariah takes it back to her R&B roots on this one. She sings to her man, “once you’re gone, you’re not coming back” as she shuts the door behind him.

9.  “Up Out of My Face”: Carey pulls out her sass as she pushes this man out of her life. There is no repair for her heart as it has become hardened.

10.  “Up Out of My Face (The Reprise)”: A live band version of the original.

11.  “More Than Just Friends”: Mariah is going out on a limb and letting her friend know she wants more than just their platonic relationship.

12.  “The Impossible”:  The beat is mellow. She has restored love as her knight in shining armor comes and revives her broken heart.

13.  “The Impossible (The Reprise)”: Mariah Carey samples Jodeci’s “Forever My Lady” into a slower smoother version of the original song.

14.  “Angel (The Prelude)”: Carey’s voice floats over the beat of this prelude.

15.  “Angels Cry”:  The love is shaky again. It’s a worthy track but its sounds the same as the others; when she finds love again, it slips away.

16.  “Laughing (The Interlude)”: The title implies laughing but the lyrics say crying.

17.  “I Want to Know What Love It”: It’s the perfect ballad to close out the  tear soaked album. Mariah Carey starts the album with a broken heart and ends it with the search for love.

25 Magazine’s Tray Laws gives Melanie Fiona’s debut album The Bridge, a first listen.

Words by Tray Laws

New artist Melanie Fiona has the vintage soul vibe of the classic Motown era yet she still possesses the flavor to capture today’s hip-hop focused audience. This past July, Fiona’s hip-hop tastes were previewed on The Bridge mixtape she recorded with DJ Questlove, a live mix of songs from her then upcoming LP, and even Kanye West’s “Heartless.” Now Melanie Fiona shows how well she bridges today’s R&B, classic soul, reggae, and hip-hop on her debut album, The Bridge released on Universal Motown. The Canadian soul singer’s first single “Give it To Me Right,” leads an album filled with songs of life, love, and heartache. On the track “Monday Morning” Melanie belts about personal growth and moving on to pursue her dreams, and on “Teach Him” Melanie assures her lover some love he never felt before. The Bridge is a delightful compilation of deep stirring songs sung with passionate note worthy vocals; definitely a bridge worth crossing.

1. “Give It To Me Right”: Melanie Fiona sings with strong lyrics that drip with sexiness. The vocals are fresh, inviting, and compliment the beat. She doesn’t want it all the time, but when she does…give it to her right.

2. “Bang Bang”: A renegade’s theme song. This track definitely has a rock vibe. The vocals pair well with the beat.

3. “Monday Morning”: Once you have outgrown a place it’s time to move on. This track has a classic soul vibe. The harmonies are reminiscent of the girl groups of the Motown Era yet it’s still hip and relatable.

4. “Please Don’t Go (Cry Baby)”: On this track Fiona provides more of that Motown flavor singing about a love she wants to stay. She sounds amazing; however, the track is boring.

5. “Ay Yo”: This track provides insight on Fiona and why she decided to sing. A motivational song. The beat sounds familiar, and the vocals sound sincere.

6. “Walk on By”: Church is the first thing that comes to mind. Then once the beat drops it sounds country. This track is about a love that did her wrong and she wants him to pay for it.

7. “You Stop My Heart”: Another track with a vintage sound. The vocals sound good, but it’s starting to sound the same.

8. “Johnny”: The movie “Grease” is the first thought that comes to mind. Although the track is up tempo she sings about a love lost that draws you in and then you find yourself tapping your feet.

9. “Sad Songs”: Another track about love gone wrong. She vocally sounds great on this song, and the island vibe of this song is enjoyable.

10. “Priceless”: The song about love that is-priceless. This is the first song that sounds like her and not like some other era of music. The vocals are fresh and make me want to find a priceless love to sing about me.

11. “It Kills Me”: Fiona slows the pace down on with track. This track is relatable because so many people go through an unfaithful relationship that they may not want to give up.

12. “Teach Him”: The album closes with a sultry track about a man that needs a little love. Fiona sings of teaching him about the good side of love.

25 Magazine recaps VH1′s “Behind the Music: Lil Wayne”

VH1 series “Behind the Music,” has finally returned with a new emphasis on rap artists. The series kicked off with the “reigning king” of hip-hop, Dwayne Carter, better known as Lil Wayne. The narcotic driven artist gives the VH1 staff insight on his childhood in New Orleans, family, career, and reckless behavior. Wayne found music to be his inspiration and began with Cash Money at the age of 9, then heightened his fame with the renowned Hot Boys, and eventually went solo with his debut album The Block is Hot in 1999. Once he stopped writing all his lyrics down, Wayne took his music more seriously. “When I stopped writing, I’ve noticed that everything was real now, I can’t speak about nothing than what was real because I can’t write nothing,” Carter says.

From then on, he pulled everything out of his head and was on the path to becoming a true icon. Few have known Mr. Carter to ever be over the influence. He attributes his  initiation to drugs at the age of 11 for his addiction. Wayne’s life is interesting, though not nearly as hardcore as he portrays it to be in his music. However, he did face some trials, from accidently shooting himself roughly a centimeter away from his heart and losing his childhood to the devastating Hurricane Katrina tearing apart his hometown.

“In 27 short years, Lil Wayne has already lived a lifetime of tragedy and triumph, and while his future remains uncertain, one thing is clear: He has no intentions of slowing down.”

50 Cent is in transition. He’s perched on the cement roof of Camp Curtis in Manhattan with sidekick and G-Unit kinsman Tony Yayo at his back while a reality television show cartel anxiously anticipate his next move. The entrepreneur dons a navy pinstripe three-piece, royal blue tie and air of austere discontent. It is the pilot episode of his MTV reality television show “The Money and the Power” and Mr. Jackson is deliberating eliminations in an effort to teach his novice cast an important lesson in business.  He approaches the feisty contestant Precious, jaw clenched, perhaps too close for comfort, and stares intently into her eyes. To everyone’s surprise, Fifty decides to send home her faulty team leader, saving Precious from an early elimination—Instinct. Since the 2003 release of his freshman LP, Get Rich or Die Tryin’, 50 has been fervently dishing out business advice to anyone who’d listen, and after topping Forbes’ 2008 “Hip Hop Rich List” (he tied with Akon at No. 4 in 2009), the world is all ears.

Fifty’s first lesson in business—invest smart and early. In 2004, he purchased equity in Glacéau and launched his own brand of VitaminWater, Formula 50. In 2007, Coca Cola acquired Glacéau in a $4.1 billion deal, leaving Curtis Jackson with an estimated profit of up to $400 million and continued partnership as the “Air Jordan of VitaminWater.”

His second lesson—no concessions. Despite extensive promotions, 50 Cent rescheduled the release of his third album Curtis in order to maximize on both U.S. and international sales in 2007 and reaped 5 million copies sold worldwide in the face of the dwindling music industry.  The shaky economy set up 2008 winter releases for financial failure and prompted Fifty to push his fourth solo project Before I Self Destruct to February 2009 and later September 29, 2009, promoting the LP with extensive radio play, single releases and download specials.

As for Fifty’s third lesson, you’ll have to buy the book—The 50^th Law; A Robert Greene collaborative project and 48 Laws of Power spin-off in stores today and lofty addition to Fif’s bevy of endorsements and products. In the past two years, Jackson earned over $170 million (Jay-Z  earned 30% less at $117 million) and has proved himself a savvy businessman despite what corporate considers a misleading thug-posturing music persona. He’s garnered money and power with his triumph of the entertainment industry and now that he’s risen to the top—is after our respect.

25 Magazine: Rumors are spreading like crazy on the value of the 50 brand but they’re all conflicting, how much are you really worth?

50: Like my net worth? I don’t even know. After taxes and everything we’ll figure it out. I mean as far as the companies I haven’t sold already you know what I mean? When you build, the object is to build the companies up to the point that you can actually sell em. [I] don’t want to underestimate or overestimate you know. If I overestimate then people gon say I was frontin’ and if I underestimate they say I’m just giving you a bullshit answer.

25: Hmmm, well it is without a doubt you’re doing well. Do you have plans to expand your brand further?

50: Oh absolutely. I mean I think that’s the big portion of what we do that artists miss. We’re in the music business. I think they just get stuck with music.  And they never know the business when they trying [to] make the type of interest to have the type of popularity and celebrity that’s involved. The marketing that was done and being spent on an actual artist…I just think that applies to my personal interests. I’ll make a commitment to VitaminWater as opposed to an alcoholic beverage because it’s more, a more visible representation of my lifestyle. I’m really health conscious.

25: Word on the street or the internet rather, is that you made the right choice investing in Glaceau. Do you ever feel the pressure succeed this hit or miss industry?

50: Well yea. On every level I feel pressure to succeed you know but not just from the label, from myself.  You know when you got the entire art form down 30% of course I like to be the turning point for a positive. You know what I mean, where you actually start selling records again based on a new album. But if not there ain’t much to look forward to so I mean while you got people out there that’d like to see me do bad, they can [revel in] the bad, they can also forget about their chances of making a successful career for themselves and this art form.

25: Rap sales have been down yet the interest still seems to be growing. Who do you truly feel dictates the trends in Hip Hop, the artists or the corporations?

50: I think the artists do but corporations, I mean ultimately the corporations do but artists they gotta turn their music in you know what I’m saying? The problem with Hip Hop right now is that no real artist control; there’s no creative control. They used to have, the A&R department used to be a lot stronger where they would help create a creative direction with the artist and now it’s like an artist will come in and if they got one good record they might get signed for that record…And do the single, I mean if the single works, ringtone will pay for your album. Now you give an artist in there a really good record…and it was a really good record you say okay well we got a single, all you gotta do is go in the studio mix and master the single, put the single out. If the single connects, the ringtone can earn enough to support them giving you a budget to create your album.

25: No more albums?! Seems as though artists are getting the short end of the deal. What would you consider your biggest grievance with the music industry?

50: You know what it is. You got a lot of people that don’t actually from an artist perspective…because you see an artist, you create all type of envy and negative energy for other artists because I come from an artist standpoint but these artists don’t actually wanna learn the business.

What I dislike the most about the music business is rappers see everyone else who actually raps as their peer. Even if you work yourself into a different space in business and financially they still see you as their peer so they begin to envy your space instead of just build on their own energy because Hip Hop is so competitive that the artists utilize whoever is in a good scene as a target or their competition. You understand what I’m saying? You know and I deal with that constantly and I feel like this like about this particular art form and I don’t think R&B artists don’t well…they don’t respond the same way like they don’t say. Like I don’t see um Pink saying “fuck Ne-Yo” you know what I’m saying because his record is good you know and that’s what happens in  Hip Hop space, so it’s different like that’s the only portion about the hip hop genre of music that you know ours is a little different.

25: Speaking of understanding the business, do you own your publishing? How important do you feel it is for an artist to own their publishing rights and side business ventures?

50: Yes I do. Well it depends on where that artist is at financially or what kind of deal they actually do it in. If you wanna do it in an Administrative deal it’s somewhat you know like a lot they held on to all the publishing and didn’t have anybody involved with collecting all their publishing then they probably wouldn’t pay the money they were supposed to pay anyway.

25: Well you have been doing pretty well for yourself, did you ever anticipate this much success?

50: I always had big ambitions. Big dreams you know what I’m saying. Well I always envision things. What I mean by that is before I used to think of something and just sit there and just be thinking of it. That’s dreaming. When you come up with something and you start figuring out how to execute it. That’s envisioning you know you’re actually attempting to execute it you know I take my idea and I roll with them.

25:  You came from humble beginnings, as a Black entrepreneur do you feel a responsibility to give back to the community?

50: Well I think everybody should, that’s in a position where they could actually do it. You know I come from the bottom so to be able to provide something that wasn’t provided to me to help someone else life experience or a small piece of it. I ain’t doing so much where I’m altering their life totally you know what I mean. To me the biggest donation is making a small dent in what needs to be done. You know so I guess… as far as all of the charitable things I’ve been involved in I didn’t want to create a non for profit organization I feel like that would be me running a whole ‘nother business. Because that is a business you know what I’m saying like there’s a lot involved in having a non for profit so what I did is I set up the G-Unity Foundation where I could actually take proceeds and my donation and donate to other existing charities.

25: Do you think other artists are contributing enough?

50: I think the ones that can are.  You know I think a lot of them…I think the perception of Hip Hop artists is a lot greater than they actually are and it’s because of what they see on television like rappers be superheroes within themselves you know they rap about the coolest stuff. It’s the lifestyle that they aspire to have. You know sometimes you gotta fake it until you make it. You know and that’s what they doing so there will be a lot more money around than there actually is and because they aspire to live life on the highest level they splurge early. So you see them with the nice cars when you see them in passing and big jewelry and everything else on and you think wow this guy is rich when he really doesn’t have a lot. He did what would be visible to make people get that impression but they don’t actually have it.

25: Where do you see yourself in 5-10 years, music or business?

50: In ten for sure more in business. I’d be 44 years old. You know, not rapping. By 44, I will behind-the-scenes more.

25: Do you think you’ll ever settle down?

50: Well I can’t predict the future but I’d say right now to answer that question I’d say I see myself in business at 42. I know people who have families and they conduct, at a different pace but they still have businesses so and right now I’m off and running. I’m going to do what I got to do to sell a record and do different things but… after then everything starts to mellow down a little bit.

Hip hop is tired of being hip-hop. Kanye is diving further into fashion, Lil’ Wayne is engaged in a torrid affair with rock & roll, and everyday a new rapper starts a film career. Some fans claim that artists need to branch out creatively to express themselves, while some cynics scream that strolling down every media avenue is just a shrewd attempt at getting rich. Whatever the case, spreading talent too thin leads to a decline in quality music. Cliché rants about Hip hop being dead come to mind. Just as we were all beginning to dread flipping on the radio, fresh voices are pumping in new blood to revive the music industry.

Such is the case with U-N-I, a rap duo hailing from Los Angeles, California. Their music seems to immediately connect with people. After releasing their first mixtape, Fried Chicken and Watermelon in 2007, U-N-I has been receiving increasing amounts of recognition from both listeners and the press, with growing coverage and performance opportunities. Avid rap heads have greeted each offering with the same greedy anticipation. Their follow-up mixtape Before There Was Love caused the blogosphere to ignite with reviews and promises of free downloads, and their latest musical contribution, A Love Supreme, which features the insanely catchy single “Hollywood Hiatus” enjoyed a similar welcome.

The men behind the music are members, Yonas “Y-O” Micheal and Yannick “Thurzday”Koffi. They met in high school in 1999. After realizing their mutual love of music, they began to devote their lunch periods to defeating cocky upperclassmen in rap battles. They soon joined a four-man group called Rap-Ture Kamp, but in 2006 they splintered off and began to work together. They derived their name from The Roots’ track “UNIverse at War,” one of their favorites, and have been sprinting after their shared goal of rap fame ever since, using mixtapes and performances to get them closer to their dreams.

They have made significant progress. Not only have their Google hits risen to internet-celebrity status, but their developing resume includes making Billboard Magazine’s “Acts to Watch” list and the 2008 MTV Video Music Awards “Best Breakout LA Artist” award.

Although this heightened interest in the duo means they are successfully breaking into the music industry, it also leaves room for lazy comparisons and knee-jerk expectations. Some take a glance at U-N-I’s mutual appreciation for bright colors and Y-O’s mohawk and instantly label them as “hipsters.” Others immediately assume that they will spout the g-funk that is heavily associated with the Los Angeles area. However they seem to be different, more honest. Their music centers on their individual memories, goals, shoe fetishes, and celebrity daydreams. There is a certain level of self-awareness in their lyrics, as they allow their clever rhymes and well-delivered punch lines to speak for themselves.

Check out their latest release “Land of Kings”:

25: Where’d your love for music come from?

Thurzday: It comes from the people we grew up listening to Mos Def, Talib, Redman, Nas, Biggie; we were really influenced by Prince, listened to that reggae music and all that stuff, so we really loved music.

25: How did you two meet?

Y-O: We basically met in my freshman year and Thurzday’s sophomore year at St. Bernard High it was 1999. We met during lunchtime when we were either playing basketball, or on the courtyard doing freestyles up against upperclassmen and we just became the talk around campus, because we just demolished these upperclassmen who just thought they were just the ish and we did a talent show and joined a four man group during our high school years, we put out a couple of mix tapes, albums, and the request that they wanted to hear myself and Thurzday [do something together] so finally we made that division and we hopped out in ’06 and followed that with Fried Chicken and Watermelon in the year 2007.

25: What made you decide to really pursue a career in music?

Thurzday: Because 9-5’s are wack! I couldn’t see myself doing anything else that made me happy. This is what I wanted to do since I was a kid. Some people wonder why –it was like, the only thing we wanted to do as far as having a career. I looked up to people who’ve done it and I could never see myself doing anything else.

25: What made you realize that a career in music was right for you? How did it make you feel?

Y-O: Well, music has always been a part of our lives. I can tell you that growing up as a kid there was always music being played in our houses. But, before I got deep into music, there was always basketball, and with basketball, you know, you warm up to music. So, I noticed as I got older music has just always been something that was a part of me growing up as a kid and it just always made me feel so happy. When you write rhymes it’s just a way of [releasing] some stress off, getting stuff off your mind, and just putting it in your own words, and it just makes you happy; makes you get through the day easier. So, when we did the talent show in high school and just hearing the people’s reaction that kinda, like, made me feel great and I said to myself, “This could be a future; something I could do later on down the line.” So, just getting older and older and doing more shows—I guess I just took it more seriously and people respected it.

25: Many complain about a lack of originality in the music industry. What makes you different?

Thurzday: We’re not anybody else. We’re only us. So that’s like the only thing that makes us different from anybody. Everybody hasn’t lived our lifestyle. Everybody hasn’t experienced what we’ve experienced. So, through our own voice, we project who we are throughout our music. And it’s nobody but us. So, that’s really what makes us original. We’re true emcees. You know, we’re not a gimmick act. We really have talent, and we display that.

Y-O: And just to back him up. Our music is about things that actually happened in our lives, but outside of that, our live shows. I would say that It should be mentioned that even though we don’t have the biggest amount of money backing us up, we’re able to put our minds together-myself, Thurzday, our DJ and sometimes our band-and we just put on a live [ass] show, which some artists are not able to do these days.

25: Speaking of your music, it seems that you have a thing for Lauren London?

Y-O: Yeah, that’s a true story, once again. The song was basically inspired just from me having a crush on Lauren London, and I brought it up in the studio, with Ro Blvd, and we were just all joking and laughing about it. Everybody was like, “Yeah, she’s hot”. So, we started laughing about it, and it eventually turned into a record. She actually heard the record, and I guess it put a smile on her face. I thought she responded on Twitter, and she hit us up, well a fake hit us up, saying she loves the music, and she was acting real brand new. Then I remembered months ago that she’d heard it, so I was like “This can’t be Lauren” so I asked her a question about a mutual friend and she had no clue who I was talking about, so that kinda like, brought me down cause I thought I was really talking to Lauren London and come to find out it was a fake, man.

25: And shoes? You like those enough to write a whole song about them, as well?

Thurzday: We basically got an idea to take the original “C.R.E.A.M”, from Wu-Tang, and apply it to our lifestyle and a lot of folks were into kicks at the time, so we changed it to “Kicks Rule Everything Around Me”. We shot a video for it, and it took off.

25: You’ve been receiving a lot of positive feedback lately from the media, but what’s your career goal?

Y-O: To be bigger than Kanye, with more money than Bill Gates.

25: Any advice for aspiring artists?

Thurzday: Starts with quality music, and a quality team and you can do anything.

Y-O: Step outside the box, just be yourself, and have fun—always have fun.

Download their music at www.yothurz.com

Photo by Kendra Desrosiers

Chester French and Q-tip perform at Summer Stage.

Central Park was live this afternoon at the Summerstage concert with headliner Q-Tip. It was hot and there was no shade in sight but that didn’t stump the crowd’s energy. Chester French, Sweden-based group Little Dragon, and DJ Benji B got the crowd ready for “The Abstract.” Familiar also sited today included Cassie, Damon Dash, and Amanda Diva.

Duo, Chester French moved the crowd with hits from their mixtape “Jacques Jams, Vol 1: Endurance” and debut album Love The Future. DA Wallach had the crowd laughing at his dorky swag as he instructed the crowd to commence in a soul snap. “Hands up in the fucking air! We need you to snap with us in a second!”

They performed songs like “Jimmy Choos,” “C’mon” and crowd favorite “She Loves Everybody.” The pit was packed with toddlers and guests of a guest but we managed to get some video of their set, check it out:

Chester French @ SummerStage NYC from 25 Magazine on Vimeo.

The Queens Hip Hop legend, Q-tip gave a phenomenal performance with a live band to the at capacity venue. He performed a mix of A Tribe Called Quest classics including “Bonita Applebum,” “Scenario,” and “Sucka N*ggas” as well as “Award Tour,” in which all the die hard “real Hip Hop heads” sang word for word. Tip also performed songs from his latest album The Renaissance, such as “We Fight/We Love” and “Gettin Up.”

While Tip performed “Vivrant Thing,” Diddy danced into the press pit, hopped on stage and did his famous two-step. No one expected it (but 25 caught it on tape and video!). After ending his set, Q-tip came back on stage for “Life is Better,” and jumped in the crowd.

No one wanted Q-tip to ever leave the stage and he clearly gave all his energy to the crowd by sweating out his white tee and presumably his knee high black socks. His performance was unforgettable indeed.

Here’s some Twitter highlights:

@25mag: @iamdiddy jumped on stage w/@qtiptheabstract, guess who’s the only to get video and photo? @25mag, get familiar, best show of the summer!

@25mag: Industry rule number 4080, record company people are shadyyyy

@25mag: He’s in the crowd, where is he? we can’t see you tip, you a lil short my man

@25mag: @qtiptheabstract is sweatin hard, great show!

Check out our exclusive video coverage and photos of Q-tip’s performance, including Diddy’s dance number:

Check out: Q-Tip @ SummerStage Photo Gallery

Yes, 25 MAGAZINE will be in attendance for the 5th Annual Brooklyn Hip Hop Festival going down this Saturday. Can’t make it? Don’t worry the 25 staffers in NYC will hold you down with the live review and further pics and video coverage soon after. The festival will feature performances by Pharoahe Monch, Styles P, and dead prez just to name a few. Rain or shine, we in there!

The Cool Kids x Don Cannon- Gone Fishing (C.A.K.E Recordings/Cannon Music)

Let’s be real, The Cool Kids just want to have fun. They are great at rapping about absolutely nothing important and will only get better at it. The duo known for their flashy gear and their bass heavy production style, found each other on Myspace in 2005. Three years and four mixtapes later, The Cool Kids are back with their most impressive project yet. They have enhanced their production, but have left their lyrics behind in the release of their mixtape Gone Fishing with Don Cannon, a prelude to their highly-anticipated upcoming album, When Fish Ride Bicycles. They made a huge splash in 2008, opening for M.I.A. on her World Tour, joining the Rock The Bells concert roster, and headlining the “NBA 2K Bounce Tour” with rap veteran Q-Tip. The two are not the most profound lyricists, but with recent approval from Hip Hop notables such as Q-Tip himself, many wonder what gives The Cool Kids, their cool?

The key to The Cool Kid’s success is their ability to make music that mixes boom bap and early rap influences as a soundtrack to simply having a good time. With fun storytelling, punch lines, and amusing analogies, they show their playful tone on many tracks as in “Popcorn,” where Chuck says “Doorbells, door knocks/ Open up it’s the cops/Sike naw it’s The Cool Kids/Came to jump on your couch.” Their arrival complements the new wave of rappers with a refreshing approach to Hip Hop, where the alpha-thug is no longer the genre’s idol.

Throughout the mixtape, their corny yet cunning style of word play continues to work in their favor. On the bass-loaded “Premium Blends,” Mikey Rocks feels he can reel in women like a master fisherman saying, “Throw that girl a line and I bet that I can catch her.” But Chuck makes it clear that there are many fish in the sea and he is not in for the long haul. On “Weekend Girls” (Don Cannon borrowed from Camron’s “Weekend Girl”) Chuck says, “You looking wedding day nice/ Now I don’t want you to think that I’m the wedding day type/ I just had to make it clear/ Before we make it outta here.” Their cockiness when is comes to the opposite sex is both cheesy and entertaining.

The Cool Kids go beyond their often heavy bass production on the laid-back “Summer Vacations,” where the keyboards rule the track. But some things never change for the two, as they still show signs of having gold chain obsessions on “Gold Links,” a follow-up to The Bake Sale’s “Gold and Pager.”

One won’t find memorable lines on Gone Fishing, but it is amicable in its entirety, keeping one zoned in track by track. Also, Don Cannon doesn’t overload the tracks with drops, making it an easier listen than most mixtapes. With Gone Fishing, the duo makes it clear they want to make good music for relaxing and nothing more. This mixtape is a solid preview of The Cool Kids’ upcoming album and shows that the two charismatic charmers are more than ready to put out their first LP.

(Photo Source: coolxkids.com)

Link to Free Mixtape Download

-Natelegé Whaley

This week, three highly anticipated albums of 09′ have fell victim to the industry trend of the “push back”. 

According to HipHopDx, Lil Wayne’s Album ‘The Rebirth’, which was scheduled to drop on May 19th, may now be shelved. Originally ‘Rebirth’, the rappers first experiment at a rock album was slated for an April 7th release, making this the second time it’s been held over.

Wayne’s not the only one who is having trouble putting out the goods. Yesterday, ThisIs50.com reported that Busta Rhymes’s ’B.O.M.B (Back on My Bullshit)’ will be dropped on May 19th instead of March 24th. The album will feature Mary J. Blige, John Legend, and Common.

The self-proclaimed ‘biggest boss’ Rick Ross will also be appointing his upcoming third album ‘Deeper than Rap’ to an April 21st spring release, according to a Def Jam label rep. Ross recently announced on MTV that he will be doing a mini-tour in New York City and in Miami this spring, in which all proceeds will go to underpriveleged kids.

Unlike Ross and Rhymes, Wayne has yet to confirm an official date for his upcoming album.

-Natelege

It’s been 5 years since Eminem released the multi-platinum album Encore, and he has managed to make up for lost time by scheduling to drop two albums this year: Relapse and Relapse 2. Originally Relapse was scheduled to drop in 08′. But after going back to the studio with Dr. Dre, Eminem worked up enough steam of tracks to release both albums this year.  Slim’s recent release “Crack A Bottle” has already broken Neilsen SoundScan records, being the third most downloaded song in the history of their weekly sales. Look out for the April 7th release of the first single and it’s music video.

Relapse is reportedly set for a May 19th release.  

-Natelege

DJ Pump, a Canadian-based radio personality has just dropped a mixtape featuring a few of Common’s new, classic, and unreleased singles. Produced in just one day, Pump effortlessly interlaced the tranquility of contemporary jazz rim shots with the classic reverberations of dj scratching to create  Common Ground: A Retrospective. Read more for download. 

Download Here . Enjoy!

-Zaria Poem

Even in a recession Tupac’s career is still doing better than yours–film career that is. According to wooha and HHDX, the late Tupac Shakur wrote a screen play titled Live 2 Die while in prison in 1995 for sexual assualt charges and is currently slated for release in 2010. Couldn’t have Biggie stealing all the shine!

The script had been shopped around by mother, Afeni Shakur for the past few years and was picked up by Insomnia Productions, the producers of HBO’s “Rome.”

Here’s a synopsis: “A charismatic young man at the dawn of adulthood spirals down the wrong path in life and is brought into the underworld by his once trusted mentor, only to become one of the most powerful and feared kingpins in the city. Eventually his conscience gets the better of him and he is driven to self redemption in life… and love.”

Sounds like the dwindling music industry hasn’t effected rappers’ careers postmortem.

We couldn’t resist. Here’s D.Chappelle’s video for the song Tupac wrote a really long time ago (in ’94).