Bad Meets Evil (Eminem & Royce Da 5'9) Hell: The Sequel

Fresh from a (slight) return to form through Recovery, Slim teams up with old pal and fellow Detroit emcee Royce Da 5'9 to bring fans "Hell: The Sequel". For those of you who remember Scary Movies or happened to have heard the recently released Fast Lane, this collaboration seemed to be more of a gift to the fans than an attempt at commercial success for which I couldn't be happier about.

Bad Meets Evil let their intentions be known from the start, with the aptly named Welcome to Hell setting the pace and theme for the rest of album. The first thing listeners will realise, even from track one is that this is not the Eminem fans have seen in a long time, this is Slim Shady, this is incredible. To say the old Eminem is back would be be a disservice to how impressive Slims pace is on the album, not to mention the kind of dark humour that many fans, including myself fell in love with. (look out for a cheeky Nicki Minaj request in Fast Lane).

Listeners may be forgiven for thinking this is an Eminem album featuring Royce Da 5'9 but this is way off the mark; in fact, what I love more than anything about this album is the fact that at no point in Hell: The Sequel does Royce get overshadowed by Eminem; he spits just as much fire with an equally impressive delivery on every single track.When Royce gets the opportunity to go it alone is when the listener really gets to see Royce for what he is - an incredible standalone rapper who for some reason is yet to get the reconition he deserves. For examples of this, look no further than Above The Law and Take From Me.

Everything was going swimmingly; I loved the beats (particularly the eery offering from superbly diverse producer Bangladesh), Em was back and on top of all this I was properly introduced to Royce Da 5'9. Just as I was starting to think this was a truly special album POW! Bruno Mars' voice cuts through me like a knife...WTF?! He has no place here, this was supposed to be for the fans, a middle finger to commercial albums yet here is a song that is clearly built for the radio, I wouldn't of minded too much but even the verses were weak. I honestly feel a little cheated with this track, so unnecessary.

The Bruno track kinda resonated with me for the rest of the album and cracks started to appear. The guest spots were not particularly memorable and there were glimpses of 'Relapse/Recovery Eminem through a few weak verses and tediously long choruses a'la     I Need A Doctor, Royce actually has to rescue a few tracks for Slim.

Judging the album purely on the Royce and Eminem tracks, this is an amazing album and welcomes a true return to form for Slim Shady. However, the additional collaborations, particularly with Bruno Mars have kind of tainted Hell: The Sequel for me which meant it wasn't the incredible album I originally thought it was. Nevertheless, it has to be said, that for the most part, the album sets the bar for rap collaborations of 2011 and with Jay-Z and Kanye's "Watch The Throne" right around the corner, Jigga and Ye' need to sit up and take notice.


4/5

Fashawn - Higher Learning Vol. 2

Ok, so I realised I’ve kinda missed the bus on this one by about 3 months but it was just too good to not to review. Before I start, I just wanna say how cool Fashawn and Higher Learning 2 is; from the flyest front cover I’ve seen in a long time, all the way through to the freshest skits, this mixtape is straight ice cold.

Having listened to a lot of mixtapes in the last 6 months, one thing has become clear...even ‘good’ mixtapes have some awful tracks on them purely because the track lists are usually so big. Higher Learning 2 doesn’t. As I keep listening I find myself waiting for that average track or pointless filler but it just doesn’t come. The mixtape is perfect. There isn’t a single track I don’t thoroughly enjoy.

I’ll start with the beats and producers Fashawn uses. The tracks are ridiculously diverse - from smooth anthems such as “For the G’s” to fast-paced bangers like “Do What I Gotta Do” as well as a cheeky Queen remix thrown in for good measure, the men behind the boys have done an incredible job. Even when borrowing beats from the likes of J Dilla and Kanye, Fashawn still manages to make it his own...I almost forgot what the originals sounded like. Very rarely do remixes of a track seem like some of the standout tracks on a mixtape. It is this consistency combined with such diversity that stands out for me and stays with me throughout; Fashawn's delivery is so coherent you practically feel every syllable, it’s almost spine tingling.

In addition to plenty of guest producers, the collaboration tracks are also a delight, particularly the recruitment of the ridiculously talented J. Cole who kills it on the beat as well as in the booth. Every track with J. Cole could easily be a standout track but that would be selling the rest of the mixtape short. Additional appearances from G.O.O.D Music veterans Common and John Legend top of a guestlist that puts My Beautiful Twisted Fantasy to shame.

Being such a pessimist, I had to find something wrong with Higher Learning and my only complaint is the ridiculous shoutouts in some of the tracks that makes it almost seem bootlegged. Given that this is the only fault I could find, I think you may have realised how good Higher Learning 2 actually is.

Because of the quality, It was so hard to pick the standout tracks for this. I love the collab with Common and John Legend in “Strange Fruit”; which has a deeper feel to it than the majority of the tracks. I could have picked any all of the J Cole work but for me it has to be “Relaxation”; the deep bass and fast paced delivery are the perfect compliments that has left me wearing out my replay button.  Finally, “Going Home” is a brilliant close to the mixtape; the beat is a certified head-bopper and it was refreshing to hear Fashawn going it alone, spitting fire in the process.

For a mixtape with no less than 22 tracks, Higher Learning 2 is nothing short of genius, Fashawn has obviously took a lot of time with this mixtape. Instead of just throwing all his material together on one project, Shawn manages to stick to the Higher Learning theme - something that is a rareity on many albums let alone a mixtape. I really can’t stress how much I love Higher Learning 2; the diversity of both the beats and delivery combined with a consistency that could put plenty of veterans to shame, this is easily the best mixtape if not thing I’ve heard in 2011, seriously why are you even still reading? GO AND GET IT!

                                            Higher Learning Vol 2 - Download.

Lupe Fiasco - Lasers

Apart from the small matter of Dre's album release this year, I think it's fair to say that Lasers was by far the most anticipated Hip-Hop album of 2011; from disputes with the label to fan petitions demanding a release, it’s fair to say Mr Fiasco hasn't had the easiest of 12 months. Before I review the album I think it's important to say that I'm a massive fan of Lupe's work and like many of his followers I found myself praying for a hat-trick of superb albums that would cement Fiasco's work in Hip-Hop history. Sadly, I initially found the album to be a fair few tracks away from brilliance.

Many 'purist' and reviewers alike have been quick to condemn lasers because of its 'pop-y' feel. Indeed, some of the songs seem a little bit made for radio but this is no doubt Atlantic Records' doing rather than Fiasco's. What I love within this is that Lupe is able to put a positive spin on the situation, finding the middle ground ensuring that his message is no less powerful regardless of who listens to it. This is not commercialisation or selling out, this is intelligent distribution.

The album itself consists of two main themes - commercial, pop-y tunes with excellent content and powerful, experimental tracks with a strong message. It is the first of the two themes that surprisingly grabs my ear; a perfect example of this is "The Show Goes On" which, in my opinion would have provided a perfect close to the album. Intensely uplifting and catchy, this is definitely the "Superstar" of the album and could be absolutely massive this summer. "Til I Get There" provides the same sort of feel and shows the listeners that the old Lupe is still with us - cool, easy going and truly enjoyable, I dare you not to like this track.

The second of these themes is what will surely intrigue the listener over time. Undoubtedly, "Words I Never Said" is Lupe's showpiece of the album and encapsulates everything he stands for. Hard hitting lyrics compliment a heavy beat, Fiasco addresses issues here other rappers would not go within 20 miles of and manages to do so so eloquently its almost indescribable. The Track seems to note everything wrong with the world in 4 minutes and 17 seconds, absolute genius.
Similarly, "All Black Everything" is an incredibly clever account of black history and is filled with depth. What at first seemed like the lesser theme of the album is steadily becoming the air of brilliance I demanded, was I mistaken? Is this actually a great album? Only time will tell.

The inclusion of Break The Chain ft. Sway was definitely a commercial decision, included to boost UK sales and was something I was very excited about. The beat consists of a trance-y vibe which is more suited to a grimey-style delivery and hence reflects the inclusion of Sway. Despite my anticipation, it seems to me like a bit of an album-filler, in which even the mighty Sway sounded mediocre - something that disheartened me immensely.

The album was not what I was expecting nor was it what I wanted but what I was left with has stuck with me since I first got the album. From what seemed like a fairly average album after first listen, Lasers is slowly becoming number 1 on my playlist and I'm starting to believe that over time this may become the third brilliant album that places Lupe Fiasco in Hip-Hop folklore.

4.0 / 5  (Subject to change over time !)

I didn't want to post a song from the album because I believe you should go and get it ! In the meantime here is a recent freestlye from 1Xtra from both Lupe and Sway. I could easily listen to this 10 times in a row and not catch all the metaphors that are flying about. Enjoy !

Breaking Through: UK Scene

I realise that the last article included no UK artists so here's a couple of individuals who will surely be bringing a touch of class to the airwaves this year.


Devlin (Island Records/Universal)

Ended the year on a high, the recently released "Bud, Sweat and Beers" was probably the most original grime album to be released that year; naked emotion softened with catchy, easy going backing tracks made for a really interesting listen. With a style that can best be described as 'raw', Devlin has managed to burst into the mainstream without having to dilute his material - much to the pleasure of many grime fans.
As collaborations with Xample and Labrinth come to fruition, the kid from Dagenham will surely pick up where he left off in 2010.

Wretch 32 (Ministry Of Sound)

After numerous attempts from 1Xtra, Wretch 32 was finally forced upon the masses through his debut single "Traktor". Listeners could be forgiven for likening the track to one Mr Tempah, but make this comparison at your own peril; Wretch goes harder, thinks deeper and means more than Tinie ever will. I've heard Wretch being described as "your favourite rapper's favourite rapper" and, after a peak of the upcoming album, I'm of the belief that this young man fits the description well.


Ed Sheeran (Atlantic Records)

Probably the most unconventional 'rapper' I have heard in a long time. His recently released collaboration project with a number of grime heavyweights demonstrates an impressive versatility that makes every track sound like a hit.  The best thing about Ed, in my opinion, is the incredible amount of soul he brings to his delivery; slick chorus' combined with unbelievable verses. This man and his acoustic guitar are going places in 2011.


P-Money (Avalanche Music)

Less likely to be part of the commercial scene in 2011 but, from a listeners perspective, this isn't neccessarily a bad thing. P-Money has been slowly climbing to the top of grime tree and whilst he may not have a number one any time soon, his raw style and impressive verses are a monument to the current state of the underground scene. For anyone interested in where mainstream UK Hip-Hop comes from, go and check out P.

Breaking Through: Big in 2011

A quick look at a few artists that could be making big moves in 2011.

Drake (Young Money Records)

Not exactly unheard of, especially since his appearance on Rhianna's new track What's My Name but 'Drizzy' will look to dominate in 2011. Hailed as Lil Wayne's protege, Drake offers a similar style of delivery with a fresh perspective. His debut album Thank Me Later was, in my opionion, one of the better albums of the year; full of crisp lyrics and produced by some of the most respected artists in the game - this was an album filled with depth and talent. Young Money Records will be big this year.

J. Cole (Roc-Nation)

Recently signed by Jay-Z, Cole's slightly unconventional flow is refreshing to hear. The best thing about J. Cole is that he produces his own beats; his debut track Who Dat was self-produced - shunning the likes of Jay and Kanye to go at it alone. Cole has shown an impressive ability to be self-sufficient, holding his own behind the boards as well as in the booth - a dual talent not seen since one Mr West emerged on the scene.
In In The Morning Ft. Drake, J raps "god bless the child that can hold his own" and he is definitely practicing what he preaches. I can not wait for his album to drop. 

Jay Electronica (Roc-Nation)

Argued to be the strongest rapper on the label at the moment, this man is slightly unknown in the UK, but not for long. With producers such as Just Blaze fighting his corner, Jay Electronica is making rap critics across the globe sit up and take notice. With so little released at the moment it is hard to imagine Jay Electronica being a household name by the end of 2011 but with tracks such as Exhibit C and Rennaisance Man it's hard to see how any lovers of hip-hop will not be drawn to this man; slick beats and a style reminiscent of a young Nas - truly enjoyable tracks.

Mac Miller (Rostrum Records)

Not an artist I expect to be appearing on the radio stations any time soon but an excellent introduction nevertheless. Miller provides anthems for the stoner generation, offering a style that would best be describe as 'Skater Hip-Hop'; think early Lupe Fiasco or a better Asher Roth. An album release in the near future doesn't look imminent but his mixtape, K.I.D.S provides quality listening in the meantime.

Diggy Simmons (Atlantic Records)

For anyone who thinks that Willow Smith's feats were impressive for her age, try listening to this young man. Son of Rev Run, Diggy has obviously had alot of opportunities that many unsigned artists could only dream about. This however is what makes Diggy special in my eyes; he makes sure that everything that comes out of his mouth has purpose, constantly trying to prove his worth in the hip-hop community. The boy shows incredible lyricism and flow in  a series of freestyle's and shows that for a little man, he is more than capable of making a big noise.

Danny Byrd - Rave Digger (Hospitality Records)

Danny Byrd breaks onto our radio stations with his first real commercial album, Rave Digger and as the album title might suggest, Mr Byrd isn’t taking himself too seriously. The album is all about good fun and in my mind is homage to early rave culture; expect vocal beauty and energetic beats (if in doubt listen to Moonwalker).

As in most Hospitality albums, the production and flow of the album are just as important as the track itself. Byrd recognises this and sets out his intentions from the start with Ill Behaviour; creating the perfect invite into the world of Rave Digger. This is closely followed up by collaboration with Hospitality new boy Netsky in the intensely uplifting Tonight which could possibly be the stand-out track of the album. Other notable mentions include the addictively trance-y Sweet Harmony and We Can Have it All – which has Radio One written all over it.

Overall, Rave Digger is an album that will undoubtedly keep you moving throughout the festive period. Despite this, the content itself reminds me of a kid on Christmas morning; it’s lively, it’s fun and it’s full of excitement but eventually it will grind you down and lose it’s fresh-faced appeal.

Verdict: 3.5 / 5 

Kanye West - My Beautiful Dark Twisted Fantasy (Roc-A-Fella Records)

Mr Ego returns with his 5th album, My Beautiful Dark Twisted Fantasy, and while 808’s and Heartbreaks was considered a flop by many hip-hop purists, there was a silver lining; the D.O.A (Death of Auto tune) was called for by self-styled ‘big brother’ Jay-Z. Kanye took heed and this album reveals a new side of Chicago’s favourite rapper, exhibiting raw lyrical talent and elements of aggression previously not seen.

For many ‘Yeezy’ fans awaiting the album, Mr West provided some solace by releasing collaborative material via his website, known as The G.O.O.D. Friday project. Kanye seemed to be better than ever, combining his undeniable production skills with verses full of passion and versatility; displaying the kind lyricism that most fell in love with. The G.O.O.D. Friday project had purpose.

With this in mind I was expecting the album to be raw hip-hop, full of energy, beat-driven and most importantly strength in depth – a characteristic every great hip-hop album shares and one which I expected My Beautiful Dark Twisted Fantasy to possess. Disappointingly, I was wrong.

This is not to say the album isn’t good. There are elements of the album whereby Kanye moves beyond his best and (albeit briefly) puts himself amongst the hip-hop illuminati he is so desperate to be part of. For me, Devil in a New Dress is undoubtedly Kanye’s masterpiece of the album, think Jay-Z’s The Blueprint and your half way there. This is hip-hop at its finest, seamless flow and a track that compliments it beautifully – one of the best hip-hop tracks Kanye has ever graced us with. Gorgeous featuring Kid CuDi follows suit in terms of hip-hop – stripped down to a guitar riff and a vintage rapping style, leaving the listeners with a track they can’t help but bop their head to.

Power is almost self explanatory and provides both the fire and aggression many were craving. The same goes for Monster which features an impressive cameo from Nicki Minaj, making both Jay-Z and Kanye look amateur; this girl will be massive in 2011. Meanwhile, Blame Game and Runaway replicate a beautiful sadness – held together with melodic perfection, proving that 808’s and Heartbreak wasn’t a complete waste of time.

This, to me, is the problem – the contrasting themes mean that the listener can often get lost in the album and not in a good way. For me, the hip-hop quota is not met with this album; Kanye is able to illustrate his potential to make a timeless track, satisfying both the masses and the purists. In spite of this, West’s work, at times, seems almost lazy, allowing the likes of Devil in a New Dress to brush shoulders with the suspiciously familiar Hell of a Life. The album is able to somewhat display an artistic beauty and does have some brilliant elements of darkness to it however the passion associated with such darkness is, for the most part, a fantasy.

Verdict: 4 / 5