watch-the-throne-cover-fullArtists: Jay-Z and Kanye West

Album: Watch the Throne

Label: Roc Nation, Def Jam

Date: August 8, 2011

It’s almost unimaginable that two of rap’s biggest monarchs could sit down and agree on sharing the same throne. Well, not really. Kanye’s and Jay’s egos are broader than the wingspan of an eagle, and with their collaboration album aptly titled Watch the Throne, it’s pretty obvious where Jay and ‘Ye see their competition. For those still going H.A.M. (which luckily became a bonus track), rap kings Yeezy and Jay finally shared a piece of their paradise from the throne.Unfortunately for those with high expectations, this album might come off as a royal slap in the face.

The album begins with the philosophical cut “No Church in the Wild” in which Frank Ocean sings the agnostic question: “What’s a god to a non-believer, who doesn’t believe in anything?”  Ironically, there’s nothing unorthodoxly entertaining about this track unless you count Ye’s slightly edgier verse as he delivers religiously abrasive punchlines like “deception is the only felony, so never f*ck nobody wihout telling me.“Lift Off” follows in the same vein as neither Yeezy nor Hov deliver an aviator flow that’s worth the ascension. Making matters worse, Kanpayne makes an attempt at singing (without Autotune) which does little to improve the song despite Beyonce’s best effort to give a solid hook.

N*ggas in Paris” is as lyrically anemic as the aforementioned songs. However, this highly infectious (borderline pathogenic), sophisticatedly ignorant banger is too good to ignore.  And needless to say, the progenitors of the dubstep genre will have no complaints as ‘Ye and Hov will transform lethargic ears into obsessively compulsive listeners after hearing this international club banging sensation.  Next is “Otis” (which by the way doesn’t feature Otis Redding; he’s deceased) which has Hov and Yeezy making their first lyrical attempt to raise the ante. It would be unfair for me to pick who bodied the song to rigamortis so I’ll leave that to the fans, but in general it’s a solid cut from both.  Following “Otis” is “Gotta Have It” in which Hov planks on top of his millions while ‘Ye gets his YC (the racks on racks guy) on. Unfortunately, “Gotta Have It” won’t give you the planking on a million feeling that Jay boasts about.

“New Day” and “Watch the Jungle” are rare instances on the album in which you’ll hear vulnerability from the two titans.  In “New Day,” the two give hearty conversations to their unborn sons (in the most fictionalized sense), and explain to them the lifestyles they would provide for them if they were born. Those who hate Yeezy’s ostentatiously impulsive behavior will find his verse more than moving as he delivers an introspective and self-reflecting verse to his unborn son with lyrics like “I just want him to have an easy life/not like Yeezy life/ I just want him to be someone who people like/ don’t want him to be hated all the time.  Jay delivers with a somewhat irresponsible parenting approach (black bar mitzvahs and alcoholic drinks for his son at 13), but at least his heart’s in the right place as he vowels not to mistake the same mistake as his father. In comparison, “Watch the Jungle” is no “New Day” as Hov resorts to childhood pain to paint the canvas.  And as much as you’d love to feel empathetic (despite Hov being a multi-millionaire and all), Swizzy’s turret like adlibs and apathetically bouncy instrumental makes it hard for anyone to feel this supposedly “heartfelt” track.

Next up is “Who Gon’ Stop Me” which is an ode to their Mach 5 lifestyles. Other than a powerful and schizophrenic instrumental, there’s nothing particularly special about this track. “Murder to Excellence” follows suit, and I must say Kanye absolutely dominates this track. Jay starts with a forgettable and ominous verse, but Kanye is the one that drives it home. Although his Iraq to Chicago death toll ratio is nothing short of hyperbole (314 soldiers died in Iraq, 509 died in Chicago), he at least gives listeners a chilling but memorable verse. On his re-entry for “Excellence” Jay gives another unflattering verse that reeks much like his affluent cologne. ‘Ye once again picks up the slack and dominates the remaining portion of the track until the beat fades out. “Made in America” is a familiar roads-to-riches to tale in which each share their “come up story.” Although neither includes details that we’re not already familiar with, it’s a decent track to say the least.  Kanye gives us a semi-bitter, half humbling tale of his road to stardom, and Jay tries to be re-inventive by giving a semi-cryptic American dream tale that is riddled with drug related metaphors and double entendres. WTT ends with the finale cut “Why I Love You” which is an ambiguous shot at those throwing molotovs at the throne. Lyrically there’s nothing exceptional about this track as both are drowned out by the powerful rock-centric instrumental, leaving only Mr. Hudson to ride the musical wave.

Overall, WTT sounds much better on paper than it does in reality which is in large part due to the duo’s lack of lyrical cohesion. The album may have sounded ambitious and exciting in theory, but it doesn’t set a collaborative album precedence or challenge the listener to find an album that surpasses it. Other than the fact that two larger than life icons were able to come together to make a collaborative album more highly anticipated than… Hmmm, does Best of Both Worlds count? Okay, never mind. All I’m saying is that WTT will not have you looking back several years from now exclaiming that this was the most monumental collaborative album of all time.  Nonetheless, it’s a fairly decent album and if you don’t respect that you’re whole perspective is wack–just kidding. All jokes aside, this album leaves no pigment of grey for you’ll either hate it or love it.

Let’s face it – judging an album on a scale of 1 to 5 mics just won’t cut it — that’s more of a magazine thing.  After constant office arguments regarding album ratings, we’ve decided to revise our album review process and fairly judge an artist’s work across multiple avenues.  At iHipHop.com, we believe every album deserves an impartial review, taking into account both music and cultural relevance.

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Purchase Watch The Throne On iTunes

section-80-album-cover2Artist: Kendrick Lamar

Album: Section 80

Label: Top Dawg Entertainment

Release Date: July 2, 2011

It was just last year when Compton emcee Kendrick Lamar rattled the industry with the much lauded mixtape Overly Dedicated.  Although Kendrick has recorded independently several years prior under the alias K. Dot,  it wasn’t until recently that he had broken into the industry on a broader scale due to the success of his aforementioned mixtape. Section 80 has already sold over 5,000 digital copies on iTunes in its first three days of sales with minimal mainstream media coverage which proves that he’s definitely an artist to look out for. However, as with any oft-anticipated debut, one question still looms in the air.  Does it live up to the hype?

In comparison to Overly DedicatedSection 80 is much darker in its tone.  With the laidback cut “Hol’ Up”  being  one of the few exceptions, listeners are often times forced to confront the harsh realities of Compton street dwellers. For a majority of the album, Kendrick raps as if he was perched on a palm tree perusing the Compton city streets with an eagle’s eye view. This is evident on tracks such as “No Make Up,” “Tammy’s Song,” and Keisha’s Song”  which all chronicle the bitter plight women go through in a male dominant society.  The most chilling out of all these, however, is “Keisha’s Song” which tells the tale of a young harlot struggling with her life as a prostitute.

Poe Man’s Blues,” “Kush and Corinthians,” and “Ronald Regan Era” address the problems young black males face in choosing between the street life and walking the straight and narrow path.  “Poe Man’s Blue’s” is a standout cut that is by far the brightest gem on the album. Despite it’s name, Kendrick refuses to let this track become a story of a poor man lamenting over his menial lifestyle.  Although he addresses problems involving himself and his family, he still offers a slither of hope for those in much dire situations with lyrics like, “This for my n*****/ uncles/ 23 hours sending me pictures/ I want you/ to know that I’m so determined to blow that you hear the music I wrote/ hope it gets you off Death Row/ you came home to a pocket full of stones/ to match your PC phone/ then you went back in/ so when I touch the pen/ the pen is in my view/ I’ma get it right/ just so you…”  On “Kush and Corinthians,” Kendrick shows the straight and narrow path can be a tight rope for many. In addition, he criticizes his hypocritical critics for their self righteousness . Indeed, he raps bluntly, “I’m dying inside/ I wonder if Zion is inside the heavens/ a condom, rollie, chain, a fat blunt and a mac 11/ is all I see in my life/ and they tell me to make it right/ but I’m right on the edge of everest and I might jump tonight/have you ever had known a saint that was taking sinner’s advice/well it’s probably you am I right/ if I’m wrong/you’re a fuckin lie.”

Nonetheless, this album isn’t totally filled with viscous introspection, and for fans who want to voyage into an escapist’s haven, Kendrick gives them the opportunity on “A.D.H.D.”  Here, fans are transmitted into a rap Neverland as Kendrick lays down a Krayzie Bone-esque flow over Sounwave’s trunk knocking beat. Needless to say, this is definitely a song worth bumping while cruising down the freeway, and  if it wasn’t for two of the biggest speed bumps on the album,“The Spiteful Chant” and “Blow My High,”listeners still would be bobbing their head ceaselessly.   While both aren’t terrible, it’s safe to say that neither is great as they both would’ve been better if treated as bonus tracks. Although one possibly could make the same argument for “Rigarmortis,” one can’t deny that he absolutely killed it past post mortem which make such shortcomings forgivable. In addition, Ab-Soul’s awe-inspiring performance on “Ab-Souls Outro” along with the revolutionary single “HiiiPower,” make certain that the master of ceremony is  still in complete control.

Now, some may be wondering if Section 80 surpasses the critically acclaimed mixtape Overly Dedicated, and to be perfectly honest, it does. Production wise both are virtually flawless, but in terms of concepts, Section 80 is more multi-faceted and deeper than its predecessor.  In addition, it’s almost impossible to listen to this album and not be implored into an irresistible head nod. Indeed, what’s truly remarkable about this album is that he gives the listener an option of either being an escapist,as in “A.D.H.D.,” or realist, as in “HiiiPower.”  This is by far one of the greatest albums to come out this year, and despite the album title, Section 80 fits in neither the lower echelon of Hip Hop or in the middle of rap’s Hooverville.

Let’s face it – judging an album on a scale of 1 to 5 mics just won’t cut it — that’s more of a magazine thing.  After constant office arguments regarding album ratings, we’ve decided to revise our album review process and fairly judge an artist’s work across multiple avenues.  At iHipHop.com, we believe every album deserves an impartial review, taking into account both music and cultural relevance.

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Purchase Kendrick Lamar’s Section 80

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