Album Review: "American Gangster" by Jay-Z

Depending on who you asked, Jay-Z was in a make or break position circa 2007. After dropping The Black Album, one of the greatest albums of his career, and disappearing into a brief retirement, Jigga returned with Kingdom Come, a solid album that a lot of critics judged entirely too harshly. Some were saying that Jay-Z should have stuck to his guns on retirement, clearly he was rusty and running out of ideas. Then the Ridley Scott-directed film American Gangster dropped, and Hov was so inspired by the movie that he set out to make an entire album inspired by the film. American Gangster was born, and it seemed to spark a rejuvenation in Jay-Z, many critics hailing it as his best album since The Blueprint and even hearkening back to his classic debut, Reasonable Doubt. But was the album the modern day classic it was hyped to be?

1. Intro (feat. Idris Elba and Angel Hood)
A dramatic spoken introduction, with Idris Elba and Angel Hood explaining what it means to be a gangster. Contains dialogue excerpts from the film spoken by Denzel Washington.
Skit rating: 3.5/5.0

2. Pray (feat. Beyoncé)
"Mindstate of a gangster from the '40s/meet the business mind of Motown's Berry Gordy/turn crack rock into a chain of 40-40's/sorry my jewelry's so gaudy," Jay spits in the opening bars of the album. These bold boasts summarize the mood of the album: Jay-Z is the modern prototype of the American gangster that made it big through illicit activity and then went straight and kicked his feet up. The hustler that made it out of the 'hood. The dark track goes on to tell a story of a man who paid his dues, dodged the law, and fought against the oppression into which he was born in order to build a better life. He's seen some things he wishes he hadn't seen, done some things he wishes he hadn't done, but it was all in the interest of bettering his circumstances. Beyoncé's prayers are dispersed between the verses, as she asks God for His forgiveness of the hustler.
Instrumental rating: 4.0/5.0 This dark instrumental and its paranoid strings suit the mood of the track excellently. Built around a sample from Hank Marvin's "New Earth." Produced by Diddy, co-produced by Sean C & LV.
Lyrical rating: 4.5/5.0 Jay has always demonstrated wisdom beyond his years, and even though he is approaching ancient-by-rap-standards age, one must remember that to the world, he's still a fairly young man at this time, at only 36 years old, speaking with the experience of an old man. This track is an introspective journey through the life of the American gangster, and the album couldn't have been set up more perfectly.

3. American Dreamin'
This soulful track has a hook constructed with a sample of the angelic voice of Marvin Gaye, singing "Soon I'll Be Loving You Again," as Jay-Z spins a tale of a young man with big ambitions--he was supposed to go to college, had dreams of Harvard, a smart boy that wanted to make his mama proud--but when that didn't work out, he turned to the dope game. Jay weaves his way through an intricate description of a hustler's journey, from starting out green to working towards the dreams of wealth.
Instrumental rating: 3.5/5.0 The optimistic strings of the instrumental and the sweet singing of Marvin Gaye stand in contrast to the somewhat cautionary lyrics. Produced by Diddy, co-produced by Sean C & LV and Mario Winans.
Lyrical rating: 3.5/5.0 The lyrics speak from the disappointment of not being able to follow nobler dreams and turning to dealing to make ends meet, to the caution and danger of dealing, to the dreams of wealth and making it out of the streets. The American dream, indeed.

4. Hello Brooklyn 2.0 (feat. Lil' Wayne)
A tribute to Jay-Z's old stomping grounds, the Bedford-Stuyvesant neighborhood of Brooklyn. Lil' Wayne drops by to contribute a fairly unnecessary but not terrible verse and hook, although his vocal inflections will bother some listeners, especially those that are predisposed to disliking Wayne. The two MCs rap over a simple beat with a sample of the Beastie Boys' "B-Boy Bouillabaisse [Section 5, Hello Brooklyn]" ("hello Brooklyyyyyyyynnnnnn!").
Instrumental rating: 3.0/5.0 A fairly simple drum-driven instrumental, but with a little less boom-bap than I prefer from this type of beat. Produced by Bigg D.
Lyrical rating: 3.0/5.0 Decent lyrics and a passable tribute to Brooklyn. As far as songs about New York go, Jay would outdo himself a few years later with "Empire State of Mind."

5. No Hook
"The most important thing in business is honesty. Integrity, hard work. Family. Never forgetting where we came from..." Denzel Washington speaks at the beginning of this track, before Jay launches into another introspective rap that touches on everything from growing up without a father and without guidance, to running the streets and disappointing moms, to reconciling with the father that left him only to lose him again to death, all in a brief three minutes with no hook. The track is again dark and personal, and the lyrics are among Jay's most complex and compelling, and you find yourself wishing it went on a little longer by the time it wraps up.
Instrumental rating: 4.0/5.0 The dark guitar chords and faint choral vocals in the instrumental, all taken from a sample of Barry White's "Love Serenade," provide the perfect backdrop for another of Jay's stories of struggle. Produced by Diddy, co-produced by Sean C & LV.
Lyrical rating: 4.5/5.0 Hov has a way of bringing the listener into his world with his descriptive lyrics, and still leaving with something of a mystique, even after pouring his heart out on wax. No matter how much Jay tells us, we always leave with the feeling that there's more to tell, and wanting to hear the rest of the story.

6. Roc Boys (And the Winner Is...)

The mood switches up considerably with the first single, "Roc Boys," as Jay takes a moment to celebrate the success the hustle has brought him. "We the dope boys of the year, drinks is on the house," Jay jubilantly spits on the hook, over a rousing beat filled with soulful horns and saxes. As a song, it's excellent, although it met with only moderate success as a single. Interestingly, Roc-a-Fella in-house producer Kanye West's only contributions to this album are the "we in the house" vocals he provides to the chorus.
Instrumental rating: 5.0/5.0 I happen to love this instrumental. The horns that drive the track, sampled from the Menahan Street Band's "Make the Road By Walking," make for an excellent celebratory beat. Produced by Diddy, co-produced by Sean C & LV.
Lyrical rating: 4.0/5.0 As Jay thanks the people that made his success possible, from the streets to his family and friends to the tools he used to get there, even the most sheltered suburbanites won't be able to help singing along to say "thanks to the duffel bag, the brown paper bag..."

7. Sweet
A little more mellow than the previous song, "Sweet" finds Jigga contemplating the ethics of his rise to the top here, saying that "if I grew up to be a doctor, my nephew would have grew up to do the same" and wondering whether the influence he has on his loved ones is a positive or negative thing.
Instrumental rating: 4.0/5.0 Sampling Rudy Love & the Love Family's "Does Your Mama Know," this bluesy beat adds another smooth backdrop for Hov's reflective lyrics. Produced by Diddy, co-produced by Sean C & LV.
Lyrical rating: 4.0/5.0 Jay is again introspective on this track and his rhyme schemes are again of a more complex nature while the flow still sounds smooth and effortless.

8. I Know (feat. Pharrell)

A reunion with the Neptunes, the production duo behind some of Jay's biggest radio hits, this song marks the only track on the album not built around a sample. As much as I like the Neptunes' beats for the most part, their material post-2006 has been a little spotty for me, and this track is no different. The beat is vintage Neptunes in terms of being a smooth, radio-ready beat, but is nothing outstanding or groundbreaking by their standards. Pharrell lends his vocals to the hook while Jay spits his game on the verses, which are somewhat surprisingly lyrical; Jay tends to dumb down some of his lyrics on these type of tracks, but apparently on this album he was too on top of his game to slow down.
Instrumental rating: 3.0/5.0 An average, typical Neptunes work. Not too bad, not too great. Produced by the Neptunes.
Lyrical rating: 4.0/5.0 Jay's game starts off as smooth as ever. The story progresses into a story of a relationship gone bad, as he describes his negligence of his significant other until she eventually leaves him, leaving both of them fiending for the other.

9. Party Life
Over a soaring, bluesy beat and a vocal sample from Little Beaver's "Get Into the Party Life," Jigga continues putting his mack game down, and while the lyrics are less complex than in other places on the album, his swagger is on a million. This track is the definition of smooth and there's not much more I can say about it than that.
Instrumental rating: 5.0/5.0 This beat is so smooth, soulful and bluesy. Fantastic instrumental, one of the best on the album. Produced by Diddy, co-produced by Sean C & LV.
Lyrical rating: 3.5/5.0 Not the most complex lyrically, but as smooth and playa'ed out as vintage Big Daddy Kane.

10. Ignorant Shit (feat. Beanie Sigel)
This track, in a symbolic way, marked the end of the old Roc-a-Fella dynasty, as Beanie Sigel would be the last original Roc-a-Fella artist to appear on a Jay-Z album following the dissolution of Jay's partnership with Damon Dash and Kareem "Biggs" Burke. Jay and Beans both talk their "ignorant shit" on this record, and both of them make allusions to the absurdity of censorship, with Beans pointing out that "even if you mute it, the curse is there" and Hov demanding that "till we all without sin, let's quit the pulpit-ing." It wouldn't be long before Sigel would began throwing his own rocks at Jay's throne, and aside from a spot on Beans's album that would drop about a month after American Gangster, this was the end of their working relationship.
Instrumental rating: 4.5/5.0 Driven by a familiar, commonly used but still not getting old sample of the Isley Brothers' "Between the Sheets." Produced by Just Blaze.
Lyrical rating: 4.0/5.0 Jay and Beanie's "Ignorant Shit" is a far cry above the REAL ignorant shit being seen increasingly often elsewhere in music.

11. Say Hello
Over a surprisingly soulful instrumental from the usually synth-happy DJ Toomp, Jay talks some more crap but with a bit of a twist, as he points out again that he and his Brooklyn hustlers were never "thugs for the sake of being thugs," but rather "moving dimes 'cause we ain't doing fine."
Instrumental rating: 4.5/5.0 Tom Brock's "The Love We Share Is the Greatest of All" is the sample that provides this incredibly soulful beat. Produced by DJ Toomp.
Lyrical rating: 4.5/5.0 Another excellent lyrical effort from Jay-Z describing the difference between the types of thugs who are in it for the image, and the ones who are in it to better themselves and leave it all behind.

12. Success (feat. Nas)
The much-anticipated first time former rival Nas would appear on a Jay-Z album is a major success, no pun intended, as the two New York heavyweights vent about the changes that come with being on top; as Nas puts it, "worst enemies want to be my best friends/best friends want to be enemies, like that's what's in." Jay's opening bars are a paraphrase and interpolation of lyrics from Eminem's "I'm Back," which I find somewhat ironic, as Nas at one point used Jay and Em's collaboration "Renegade" as evidence of Jay's irrelevance when Em "murdered you on your own shit."
Instrumental rating: 4.0/5.0 The organs that drive this beat are lifted from Larry Ellis & the Black Hammer's "Funky Thing (Part 1). Produced by No I.D., co-produced by Jermaine Dupri.
Lyrical rating: 4.5/5.0 Jay and Nas at the top of their game on one track is a beautiful thing to witness.

13. Fallin' (feat. Bilal)
Continuing the trend of the album's procession into the pitfalls of success, Jay points out the irony that selling drugs is almost as addictive as using them, as he becomes wrapped up in the money and power that comes with the trade. The things he buys become increasingly gaudy and unnecessary and in the process, he is putting a target on his back, both from jealous fellow hustlers and from the law, until ultimately he lands himself in jail and loses it all.
Instrumental rating: 4.0/5.0 Bilal's vocals blend with a vocal sample of the Dramatics' "Fell For You," and the paranoid strings and on the chorus contrast with the soulful piano on the verses to demonstrate the change of situations from positive to very negative. Produced by Jermaine Dupri, co-produced by No I.D.
Lyrical rating: 4.5/5.0 This cautionary tale about balling out of control hits home with there being so many rappers in jail because of either continuing illicit activity on the side of their fame, or gaining fame from their illicit activity.

14. Blue Magic (feat. Pharrell)

The second collaboration with Pharrell fares a little better than the first, although still fails to capture some of that old Jigga/Neptunes magic. Pharrell's beat sounds much more modern and electronic than anything else on this album, with some hard percussion and low synths, and his falsetto makes for one of the best hooks on the album.
Instrumental rating: 3.5/5.0 The beat stands out from most of the album with its more modern feel, and even the sample ("Hold On" by En Vogue) is newer than the rest.
Lyrical rating: 4.5/5.0 "Last of a dying breed, let the champagne pop/I partied for awhile, now I'm back to the block."

15. American Gangster
The triumphant title track is a lyrical exercise with no hook, over a Just Blaze instrumental that shifts and changes its rhythms, not unlike Kingdom Come's "Show Me What You Got." The track sums up basically the rest of the album and is something of a victory lap for the American gangster.
Instrumental rating: 5.0/5.0 Samples "Short Eyes" by Curtis Mayfield for a typically rousing and musically complex beat by Justin Smith himself. Produced by Just Blaze.
Lyrical rating: 4.5/5.0 Jay's celebratory close to the album is also a great display of Jay's lyrical ability.

Composite Ratings
Instrumental rating: 4.1/5.0
Lyrical rating: 4.1/5.0
Composite rating: 4.1/5.0
If this kind of album is the result of Jay-Z being truly inspired, then I hope he starts watching a lot more Ridley Scott films.

Album Review: "The Adventures of Bobby Ray" by B.o.B.

The Adventures of Bobby Ray is the debut album from Atlanta rapper B.o.B. Having already built quite a name for himself on the mixtape circuit, even earning comparisons (unjust ones, in my opinion) to the much-revered but infamously enigmatic Andre 3000, B.o.B. linked up with T.I.'s Grand Hustle imprint to produce one of the most anticipated albums in hip-hop of 2010. B.o.B. has never been a clear-cut hip-hop artist, and has shown a penchant for singing and playing guitar on his tracks, and there was much buzz as to how his album would sound. For what it's worth, my opinion is that he is more reminiscent of Smoke from Field Mob than Andre, both in terms of rapping style, vocal quality, and lyrical ability. The album has Southern funk reminiscent of the good old days when Outkast and Goodie Mob ruled the ATL, but B.o.B. tries, a little too hard at times, to fit into other genres of music, and the result is an uneven at times, but ambitious, creative, and solid debut album.

1. Don't Let Me Fall

The album starts right out on a high note, no pun intended. This is one of my favorite songs on the album. B.o.B. alternately raps the verses and sings the chorus about his rise to the top and pleads "don't let me fall." It's a brilliant introduction to the album and applies equally to nearly any artist in the position of being rapidly thrust into fame.
Instrumental rating: 4.0/5.0 The piano-driven instrumental adds a somewhat dreamy quality to the track. The synths are just a bit overdone, but nothing too grating. Produced by B.o.B.
Lyrical rating: 4.5/5.0 The lyrics are very well written and the chorus in particular shines with B.o.B.'s pleasant crooning.

2. Nothin' On You (feat. Bruno Mars)

The lead single from the album follows the strong introduction, and is a poppy, sugary-sweet love song that also served as a launchpad for Bruno Mars. The song itself is unspectacular but is a brilliant choice for a single as it is unbelievably catchy and definitely appeals to the female dynamic. Mars's vocals sell the song, and to me it feels more like Mars featuring B.o.B. than the other way around.
Instrumental rating: 3.0/5.0 The syrupy-sweet instrumental has something of a throwback feel to the pop music of the '70s, typical of the production crew that laced it. It's not a particularly excellent instrumental, but the catchy pop feel that it has suits the song well. Produced by the Smeezingtons.
Lyrical rating: 2.5/5.0 I hate to overuse the word catchy, but this song sticks in the head so much that it's hard not to. With it being the lead single of the album, it's obvious that catchiness was the goal anyway, but the lyrics are a little cliché. Mars's contributions stand out more than B.o.B.'s.

3. Past My Shades (feat. Lupe Fiasco)
Another infectious, somewhat poppy song where B.o.B. is upstaged by his guest. Bobby's crooning on the intro, chorus, and bridge ("You can't see past my shades") are his best contributions to the song, and Lupe Fiasco drops a nice 16 on the second verse. Even on most MCs' best days, it's hard to not be upstaged by Lupe, and B.o.B.'s brief verse fades to a memory before Lupe even finishes rapping.
Instrumental rating: 3.0/5.0 The instrumental here, driven by piano and an upbeat guitar riff, is a well-crafted pop instrumental but again fails to be anything spectacular. Produced by B.o.B.
Lyrical rating: 2.5/5.0 B.o.B.'s short verse and simple chorus are rather bland for my taste. Lupe's verse is very good, but the song itself just fails to find any real depth, and for what it's worth, the parts in the intro and bridge where B.o.B. sings are better lyrically than his rap verse.

4. Airplanes (feat. Hayley Williams)

This is where B.o.B. struck gold on this album. When "Airplanes" was released as a single, the odd pairing of the Southern MC with Paramore lead singer Hayley Williams was enough to raise eyebrows on its own, but it turns out the song itself is incredibly infectious and also happens to be very good, regardless of what any number of "I'm sick of this song" haters would say. B.o.B. reflects over his success in making it this far and wishes for the days when music was made for the love of music, and not for money and sales, while Williams delivers the now-infamous hook that infected millions of Facebook statuses. But come on, who couldn't use a wish right now?
Instrumental rating: 3.5/5.0 The piano-driven melody and heavy drums made for an instrumental that was just enough pop to cross over and just enough hip-hop to still have an urban appeal. Produced by Alex da Kid, co-produced by DJ Frank E.
Lyrical rating: 4.0/5.0 B.o.B.'s rhymes don't tend toward much complexity in general, and here is no exception, but there are times when the whole of something is greater than the sum of its parts, and the way this song fits together, that's the case here. The introspective lyrics about the state of music and the wistful hook suited a lot of people, and for good reason.

5. Bet I (feat. Playboy Tre and T.I.)
Continuing the trend of being upstaged by his guests, T.I. manages to rap circles around both of his proteges on this track, as the three MCs boast about their skills, with B.o.B. saying on the hook to "put me anywhere in the world, I bet I bust." Newcomer Playboy Tre delivers a decent verse at the end, but the setup of the song led me to wish they had switched his verse with T.I.'s, since his would have been a perfect closer, both because of its quality and the way his rhyme dismount would perfectly end the song.
Instrumental rating: 3.0/5.0 The most traditional hip-hop instrumental to appear on the album yet, with little else but some hard percussion to distract from the rhyming. Produced by Kuttah.
Lyrical rating: 3.5/5.0 All three verses are good, but T.I. steals the show with his superior lyrics and flow.

6. Ghost In the Machine
"Ghost In the Machine" was the most surprising track on the album, to me. I was surprised at B.o.B.'s ability to carry a whole song singing instead of rapping at least a little, but the result was this, arguably the best song on the album. The lyrics were deep and introspective, and also quite relatable to most.
Instrumental rating: 3.0/5.0 The electronic sounds of the instrumental were almost an afterthought to me since I was so taken away by the lyrics, but it's an enjoyable beat. Produced by B.o.B.
Lyrical rating: 5.0/5.0 I can't say enough about this song. B.o.B.'s vocals are more than competent enough to carry the song, and the pain and sadness in his voice suits the lyrics about loneliness and wanting to run away extremely well.

7. The Kids (feat. Janelle Monaé)
B.o.B. again opens this song singing, and when he switches to rapping, I again find myself realizing I enjoy the singing part more. Don't get me wrong, I don't intend to insult B.o.B.'s rapping ability, I just really enjoy him as a singer, while his rapping tends toward the average. B.o.B. describes the difficulty a child has growing up in the world today, because "we're filled with so much hatred, the kids don't stand a chance." Janelle Monaé lends her beautiful voice to the third verse.
Instrumental rating: 3.0/5.0 A bass guitar groove that switches to electric guitar on the chorus pushes this beat forward. Produced by DJ Frank E.
Lyrical rating: 3.0/5.0 The lyrics are acceptable as a sentiment, but nothing that really inspires an emotional response. Songs in this vein have been done many times before, and have been done a lot better, but the song works fairly well.

8. Magic (feat. Rivers Cuomo)

As a fan of Weezer, I really wanted to like this song. I heard "Airplanes" and how well Paramore's Hayley Williams worked on the song, and I really hoped Rivers Cuomo would do the same thing. Well, the "Magic" was not repeated on this track. There wasn't much I liked about this song, with its plodding beat and Cuomo's uninspired chorus. B.o.B.'s rhymes were actually much better on this song than they had been throughout much of the rest of the album, but by the time I realized that, I didn't really care anymore.
Instrumental rating: 1.5/5.0 I hate this beat. It's repetitive and way too synthesized for my taste, which is unsurprising considering the producer is a veteran of dance-pop. Produced by Dr. Luke.
Lyrical rating: 2.5/5.0 B.o.B.'s rhyme structure was improved on this song from some of the earlier raps, but it seemed to almost be to disguise a lack of anything interesting to say. And Cuomo's chorus was yawn-inspiring, both in his lackluster delivery and the fact that he also failed to be interesting lyrically.

9. Fame
This was one of the best-produced songs on the album, for starters. B.o.B.'s flow and lyrics are on point and reminiscent of Ludacris, as he talks about the risks that come along with fame. His singing on the chorus was again very good, but this time the rhymes held up against it.
Instrumental rating: 4.5/5.0 This instrumental was soulful and funky and easily one of the best on the album, with a catchy horn riff and bass guitar. One of the only beats that stands out from the lyrics on the album.
Lyrical rating: 3.5/5.0 The rhymes about the pitfalls of fame are among the better rhymes on the album, and as I mentioned I found myself thinking that he reminded me of Ludacris in the way he flowed.

10. Lovelier Than You
Once again, B.o.B. switches to singing, and once again, the results are quality. He does spit a verse towards the middle of the song, but for the most part, the emphasis is once again on his vocals, and he delivers. It's also a much more pleasant love song than "Nothin' On You," as it's not as diabetes-inducingly sweet.
Instrumental rating: 4.0/5.0 Acoustic guitar and minimal percussion make this track feel a little folksy, and it works very well. The grassroots feel makes it seem even more sincere. Produced by B.o.B.
Lyrical rating: 3.5/5.0 The lyrics are heartfelt and sweet without being too sickening. Ladies will love this track, and the guys are more likely to enjoy it than "Nothin' On You."

11. 5th Dimension (feat. Ricco Barrino)
For some reason, I found myself having a hard time describing this track. It's an enjoyable track, B.o.B.'s again rapping to the ladies, but in a less romantic way, as he's boasting a little more this time. There are a lot of space analogies here and singer Ricco Barrino brings it home on the chorus as he sings, "look shorty, I can't stay here on the Earth no more, to another galaxy we must go."
Instrumental rating: 4.0/5.0 This might be B.o.B.'s best self-produced beat, and it definitely has a futuristic, spacey feel to it. Produced by B.o.B., co-produced by Lil' C and T.I.
Lyrical rating: 3.5/5.0 The many space analogies are basically B.o.B.'s way of telling his special lady he's out of this world, get it? Yeah, we get it. It goes just a bit too far in that sense but really the lyrics are pretty good, and Ricco Barrino's chorus is excellent. Side note: The last lyrics in the song are "Bobby Digital," and I'm unsure if B.o.B. realized that's already a moniker of the RZA, or if that's why he used it.

12. Airplanes [Part II] (feat. Eminem and Hayley Williams)
I'm not sure what they were thinking when they pieced this song together, because on paper the combination of B.o.B., Eminem, and Hayley Williams seems like it would fail miserably. But we're not dealing with the pop-singer-bashing Eminem of old, and this actually turns out to be a home run. My comments about B.o.B. being overshadowed by his guests was truer than ever here, as on first listen I found myself more anticipating Em's verse than paying attention to B.o.B.'s. As it turns out, the B.o.B. verse is pretty good, but Em thrashes him lyrically, which is to be expected from almost anyone on a track with Em. I consider this the definitive version of the song, even though it's packaged and treated more like a remix.
Instrumental rating: 3.5/5.0 The instrumental is subtly different than on the original, but not enough that I can say anything new about it that I didn't say before. Produced by Alex da Kid, co-produced by Eminem and Luis Resto.
Lyrical rating: 4.0/5.0 B.o.B.'s verses were probably a little better on the original than his verse here, but Eminem's verse is excellent.

13. Can I Fly? (pre-order bonus track)
Once again, B.o.B. takes to singing. I think if you added it all up, he sings a lot more than he raps on this album, but hey, that's fine with me. This track is again excellent and one of his more heartfelt tracks. It's somewhat of a cliché notion to witness struggle and hardship and wish to fly away, but it's something everyone can relate to, and once again B.o.B.'s sincerity sells the song.
Instrumental rating: 4.0/5.0 Another piano-driven beat with some soulful guitars to bolster it, the instrumental is once again great. I don't actually know who produced it, so if you do, let me know.
Lyrical rating: 4.0/5.0 Per the trend to this point, B.o.B. gets his most introspective and sincere when he sings, and this song is no exception.

14. Letters From Vietnam (deluxe edition bonus track)
This track is a bit of a curveball, as the subject matter is very atypical of hip-hop music or urban music in general. Granted, it's not much of an urban song, as the instrumental is definitely a rock track and B.o.B. is once again singing, this time about a love lost as a soldier was pulled away from his girl to fight in a war and she coldly moves on from him. The hurt in the track is evident from both sides, as in the middle of the song her letter is read aloud, and she describes the pain she felt from him being pulled away from her and needing to move on and forget. A sad track, if not a bit out of place, but a good one overall.
Instrumental rating: 3.0/5.0 The rock guitars on this track aren't bad somehow the instrumental isn't sad enough for my taste. Produced by B.o.B.
Lyrical rating: 3.5/5.0 This one earns originality points for the subject matter.

15. I See Ya (deluxe edition bonus track)
This track is finally one of B.o.B. straight spitting, no guests, no singing (aside from providing his own background vocals). And for what it's worth, he kills it. This is probably the best display on the album of B.o.B. as a pure MC, and it's not even on every copy of the album. B.o.B. is so energetic with the flow and delivery that it more than makes up for any lyrical shortcomings he may have.
Instrumental rating: 3.0/5.0 A solid, synth-heavy instrumental that lends itself well to B.o.B's crap-talking. Produced by Da Honorable C.N.O.T.E.
Lyrical rating: 3.5/5.0 B.o.B. spits with passion and energy on this one, and it's a testament to what he can really do lyrically. He's by no means an elite level MC, but he's dope when he wants to be.

Composite ratings
Instrumental rating: 3.3/5.0
Lyrical rating: 3.5/5.0
Composite rating: 3.4/5.0 An ambitious, creative, and pleasant album. B.o.B.'s detractors should give it another listen; even if you're not impressed by his lyricism, you might be able to find something in the sung tracks, which tend towards being the better and more creative work. Worth a listen for any fan of music, not just hip-hop.

Album Review: "Absolute Power" by Tech N9ne

I'll be the first to admit it. I'm a huge, HUGE fan of Tech N9ne. I'm not even afraid to go so far as to say Stan. He's my favorite MC and a lot of my work, especially early on, will be based around his music and his local scene (I'm close to the Kansas City hip-hop scene anyway, so it's accessible and I'm especially knowledgeable about it). With that said, I find it to be only fitting for my first review to be over arguably one of the Kansas City King's most essential albums, and his best-selling to date, Absolute Power.
Absolute Power as an album was borne out of the frustrations of a struggling independent artist and his disdain for the music industry in general. Tech had been with a number of major labels that were confused as to how to successfully market the bizarre Midwestern artist (including stints with heavyweights such as Quincy Jones and Jimmy Jam & Terry Lewis). Output from these musical marriages was minimal, despite Tech managing to garner appearances on major soundtracks (Gang Related, Thicker Than Water). Tech eventually linked with local producer Don Juan and the JCORR label to produce the seminal album Anghellic. However, despite the success of Anghellic, tension within the label caused Tech to once again bounce, and, according to the artist himself, leave with much of HIS money in Don Juan's hands. The content from Absolute Power is dark, angry, and depressed as a result of this frustration, but it's also clear that these frustrations inspired some of Tech's best work. Now with his own independent label (Strange Music), Tech was able to create a work that is seen by some as his magnum opus to this day.

1. Intro
In all honesty, this intro is arguably one of the most obnoxious of the many annoying skits Tech N9ne has managed to work into his albums. It is somewhat of a brief interview discussing the common misconception of Tech as a devil worshiper, and even in the interview Tech claims to be very high. It does, however, set up the drug-addled theme of some of the latter portions of the album.
Skit rating: 1.5/5.0

2. The Industry Is Punks
The musical portion of the album opens on a very strong note. Tech vents his frustrations with the music industry in rapid-fire flows and demonstrates his lyrical dexterity and cleverness in the process ("Big Tech N9ne's gonna be the one running the race/That's real, I'm speaking to everyone in the place/I can deal with you don't like the drum and the bass/If you can deal with a motherfucking gun in your face"), and the operatic chorus vocals provided by newcomer Krizz Kaliko add an ominous feel to the track.
Instrumental rating: 3.5/5.0 A fat, brassy backdrop for Tech's angry rhymes. Produced by Rubonyx.
Lyrical rating:  4.5/5.0 Tech is almost at the top of his flow and lyrical ability here.

3. Here Comes Tecca Nina

This was a single that received modest spins in Tech's region, and it works fairly well placed this early in the album. The song is not one of Tech's strongest; it's a decent lyrical performance and works fairly well as braggadocio rhymes, but the hook is somewhat repetitive. However, its inclusion early in the album helps to build into the darker, less accessible material later, and it's a fairly fun track. Includes a spoken intro from Krizz Kaliko and outro from Kutt Calhoun.
Instrumental rating: 3.0/5.0 The instrumental is catchy and works well for Tech to exercise his verbal gymnastics. Produced by Carl Breeding, co-produced by Flash Technology.
Lyrical rating: 3.5/5.0 Tech's malleable flow is on pure display here, but the lyrics are simply typical hip-hop braggadocio. Definitely enjoyable but not among Tech's most compelling work.

4. Imma Tell

As a single, "Imma Tell" is among Tech's most iconic and successful to date. It built quite a regional buzz despite being a track that one might think would quickly grate on the nerves. Built around a vocal sample from Rosemary Clooney's "Mambo Italiano," the track is one that is very likely to get stuck in your head with its catchy, simple chorus ("This is the town where the clowns put it down..."). Tech's rhymes alternate between 2 bars of slow flow and 2 bars of triple time flow on the verses, a theme that almost feels like listening to two separate songs mashed up when you consider the rhyme scheme. It's creative and ambitious and manages to pull this off without sacrificing catchiness, making it a great choice to build buzz for the album.
Instrumental rating: 2.5/5.0 The beat has an annoying wood block sound that repeats during the triple-time sections, and is rather repetitive. The skittering drums during the triple-time sections are somewhat a staple of Tech's sound, as fellow collaborators Icyroc Kravyn and Rubonyx both tend to lean on these devices for Tech's earlier recordings. Produced by Rubonyx.
Lyrical rating: 4.0/5.0 Tech's rhymes and especially flow are once again on full display here, as he proves his versatility and ability to pull off the two differing flow sounds with his brassy baritone and lyrical dexterity.

5. Slacker

"Slacker" is without doubt the most comical song Tech has ever released. Its subject matter is a major departure from the typically angry material throughout the rest of the album, and even from the sound of most hip-hop, period. Tech's rhymes ("I'm about to make it famous/so you can take that J-O-B and you can shove it up your anus") are so catchy, self-deprecating, and satirical of the slacker lifestyle that they can appeal to the punk-rock stoner, lazy teenager, shut-in gamer, and out-of-work artist in us all.
Instrumental rating: 3.0/5.0 The instrumental is fairly unspectacular, but it definitely takes nothing away from the song and the somewhat whimsical sound makes it a perfect "slacker" beat. Produced by Femi Ojetunde.
Lyrical rating: 4.5/5.0 The lyrics are nothing incredibly complex, but the genius is in the originality and comedy delivered with them.

6. Keep On Keepin' On (feat. Krizz Kaliko)
The album takes an unexpectedly serious turn here with the somewhat inspirational "Keep On Keepin' On." Tech reflects on some of the trials and tribulations of his career to date, and vows never to quit. It serves as a defiant "F-you" to his haters, as well as a promise to his fans to continue to make the best music he can for them. Krizz Kaliko provides his soulful vocals on the chorus, which is written around a lyric from the Notorious B.I.G.'s "My Downfall."
Instrumental rating: 4.0/5.0 One of the more ambitious instrumentals on the album, the track's low horns, harpsichords, and strings make for a slightly odd, but entertaining beat. Produced by Rubonyx.
Lyrical rating: 4.0/5.0 Nothing groundbreakingly original by Tech's standards, but an enjoyable pledge of resiliency.

7. Gunz Will Bust (feat. Money Hungry, Mr. Stinky, and Skatterman & Snug Brim)
"Gunz Will Bust" stands as a fairly mundane posse cut and gangsta rap track. With a repetitive and somewhat annoying instrumental, uninspired verses from guests Money Hungry and Skatterman & Snug Brim, and the unnecessary chorus vocals from reggae artist Mr. Stinky, the track would be all but skippable if not for Tech's fiery verse at the end to rescue it. Tech spits with such fury and intensity that it's worth sifting through the rest of the track to reach it.
Instrumental rating: 2.0/5.0 I really dislike this instrumental. It's repetitive and simply loops an abrasive horn riff throughout the track. Produced by Big Los.
Lyrical rating: 2.5/5.0 Skatterman & Snug Brim would later become Strange artists and make some good music, but their value was not readily apparent on this track. Likewise Money Hungry.

8. Bianca's and Beatrice's (feat. Kutt Calhoun)
This bizarre track stands as the last glimmer of hope until the finale as it plunges into darkness from here. The whimsy of the track somewhat masks the overt sexism displayed, as Tech describes a colloquialism he developed that refers to loose women as "Bianca's and Beatrice's," as opposed to bitches and hoes. Includes an early verse from Kutt Calhoun that shows nothing of the dynamic MC he was to become.
Instrumental rating: 2.0/5.0 Another instrumental of which I'm not fond. The beat is based around a harpsichord riff that is more abrasive than catchy. Produced by Rubonyx.
Lyrical rating: 2.5/5.0 Even Tech's talent couldn't save this track.

9. Diamond Joe's (Interlude)
This skit would become oft-parodied on Tech N9ne's later material, as it describes a party at a club called Diamond Joe's and sets up the following track, "Slither."
Skit rating: 3.0/5.0 Mainly for its influence on later material.

10. Slither
A strange track that seems to be the beginning of Tech's later fascination with vampires that strike in the bedroom, Tech chronicles the story of a visit to a strip club whose women aren't quite what they seem to be. He brings them home only to be rudely surprised by their bloodsucking habits.
Instrumental rating: 2.5./5.0 Another example of how this album suffers from some of its weak instrumentals. It succeeds in being different, but not in a good way. Not terrible, but definitely not great. Produced by RonnzfromBerlin.
Lyrical rating: 3.0/5.0 The story sounds like it could be a lot more compelling than it really is. Tech is a great storyteller, but falls a little short on this track. Later he would make songs around a similar theme, but featuring himself as the on-the-low vampire with much better results.

11. Disturbance (Interlude)
A completely unnecessary interlude, but hardly worth complaining about at only 7 seconds long. However, it could be said that this interlude, and the one that comes in at track 16, set a later precedent for Tech's tendency to break his albums up into sections containing like-minded tracks.
Skit rating: 1.0/5.0 Wasn't worth making into a separate track.

12. Trapped In a Psycho's Body
This, along with "T9X," is one of the most compelling tracks on the album and offers one of the realest and most disturbing glimpses into Tech's psyche of his entire career. Tech raps in two different voices representing his dual personae: one is the psycho that dominates his life with his sin, drugs, and lust; the other is the upstanding innocent man that is powerless to do anything but watch as the "psycho" ruins his life. This stands as possibly the best track on the album and one of the highlights of Tech's discography and his oft-lauded tendency to delve into the darkest corners of the human experience. The only flaw of the track is in the chorus, which could be seen as annoying but is also slightly creepy with its backmasked female vocals. Depending on which way you approach it, you'll either love or hate the chorus. Krizz Kaliko's wailing outro concludes it perfectly.
Instrumental rating: 4.5/5.0 The tinkling keys on the track add a haunting effect to the dark, drum-driven instrumental. Produced by RonnzfromBerlin.
Lyrical rating: 5.0/5.0 The internal struggle between the good and evil sides of Tech make this a most compelling track, on par with the darkest works of other, more notorious demon-battlers in hip-hop such as DMX and Eminem.

13. T9X
The downward spiral continues with "T9X." An analysis of the lyrics on paper would make it seem like a celebratory ode to all types of illegal drugs, but being able to hear the dark backdrop and the screwed vocals adds an almost eerie feel to the track and suddenly, it seems more like a cry for help than a party. The celebration described in the verses is contradicted at the end of each verse with an ominous line of predicted self-destruction ("She told me take this cap of GHB/with a gulp of Mountain Dew with glee/so I can possibly end my existence/GHB, ain't no need for resistance..."). The powerlessness and dependence of addicts is portrayed in this song to a T. This is the Tech N9ne Experience.
Instrumental rating: 4.5/5.0 The sluggish, heavy beat sounds like it was constructed after sipping some of that sizzurp, but instead of the laid back vibe of screwed Houston music, it ends up being a dark, black hole of a beat that pulls the listener into the world of ecstasy and 'shrooms. Produced by Icyroc Kravyn.
Lyrical rating: 5.0/5.0 The duality the lyrics portray the partying lifestyle to be goes beyond any amount of technical analysis I can provide. The slowed-down vocal effect only adds to the experience, and it's a track that needs to be heard to be fully analyzed.

14. She Devil (feat. D12)
This track is an early example of what would become a theme of Tech's struggles within himself and his battles with what he considers his greatest demon, lust. Alongside Eminem's homies, Tech weaves a story of how an obsession with gold-digging, sex-crazed women can take control of a person's life, as temptation ruins relationships and takes what is dear, while D12 all tell their own stories of encounters with she devils. Proof in particular seems to suit this track well, and I for one found myself wishing it had been a Proof and Tech duet instead. The chorus ends up sounding too similar to the one on "Trapped In a Psycho's Body" for me, but otherwise is a solid track.
Instrumental rating: 3.0/5.0 The beat was okay, but unspectacular. Also, the high-pitched noises on the chorus can have somewhat of a "mosquito-buzzing-in-the-ear" effect. Produced by RonnzfromBerlin.
Lyrical rating: 3.0/5.0 The stories don't really fit completely together, in particular as Bizarre's horrorcore lyrics and Swifty McVay's blatant misogyny stray from the track's theme.

15. Worst Enemy
Continuing the theme of lust as a destructive force, the paranoid "Worst Enemy" spits acid at a treacherous acquaintance that Tech asserts ruined his life. The identity of the foe comes as a somewhat amusing, somewhat shocking surprise that one should hear the track to discover. Krizz Kaliko's vocals at the end mimic the ones Tech used at the end of Anghellic's "This Ring," which themselves were borrowed from Korn's "Freak On a Leash."
Instrumental rating: 4.0/5.0 The instrumental's classical violin sounds and jumpy drums add to the paranoia of the track. Produced by Rubonyx.
Lyrical rating: 4.0/5.0 The intensity builds as Tech tells the story, leaving the listener clamoring for the identity of this betrayer, and when you find out, you'll find some of the lyrics much more clever in subsequent listens.

16. Signing Off (Interlude)
Essentially signals the end of the madder section of the album, but again does not need its own track.
Skit rating: 1.0/5.0

17. Absolute Power
This stands as one of the album's greater tracks as well, with its outright defiance and braggadocio leaving anyone that hears it demanding "Absolute Power" themselves. "I teach it and I speak it very loosely/stamina gunning got player haters running profusely/now I got the parents pissed and ready to noose me/'Cause they know that absolute power corrupts, ABSOLUTELY!" Tech spits in the final verse, and he couldn't be more right. The backmasked section at the beginning is Tech reciting a poem.
Instrumental rating: 4.0/5.0 Another fat beat, complete with crunching guitars, ominous strings, and subtle chimes, for Tech to run rampant over. Produced by RonnzfromBerlin.
Lyrical rating: 4.5/5.0 Tech's bold rhymes and prophetic chants of "Tecca Nina's 'bout to blow" dare haters to continue to question his drive and ability.

18. Yada, Yada, Yada
More than just a dis track, this song stands as both a threat and a dare to former producer Don Juan to continue running his mouth and doing his shady business. Anyone that listens to Tech knows he doesn't do dis tracks to spark on-wax battles and drum up publicity; they're business, always personal. "So now you can take away me and keep on talking crazy/and I'ma let them know where you keep your baby and where you stay, D," Tech spits, and something in the conviction of his words makes you believe him.
Instrumental rating: 3.5/5.0 The beat has a hint of Midwest drum-n-bass and a hint of West Coast G-funk, but is all dark and hard-hitting. Produced by 5150 Mental Productions.
Lyrical rating: 4.0/5.0 Tech's anger and hurt are on full display here, and this is one of the things that makes Tech N9ne's music so enjoyable. His emotions are always on center stage and even when he's making threats, you get the feeling that he'd rather have just never been in this situation to begin with.

19. Constantly Dirty (feat. 57th Street Rogue Dog Villains)
I see this as something of a companion piece to "Keep On Keepin' On," as Tech and his crew of Big Scoob, Txx Will, and Bakarii rhyme about their struggles. Tech's chorus of "Ain't nobody ever gave me nothing, I'm on my own/I was down and dirty when I was young but now I'm grown/and I continue to struggle, you heard me/me and my niggas in the course and we constantly dirty" is a sentiment to which anyone who's had to endure trials and tribulations in life can relate.
Instrumental rating: 3.5/5.0 The subtle, sad strings in the background provide a nice backdrop for the MCs to wax reflective over their pasts. Produced by 5150 Mental Productions.
Lyrical rating: 4.0/5.0 Tech and Txx Will in particular construct descriptive verses through which you can almost feel their pain. One of the better introspective tracks of Tech's early career.

20. I'm a Playa (feat. Krizz Kaliko)
This boastful track stands alongside "Caribou Lou" as one of Tech's most well-known tracks, with its interpolation of Falco's "Rock Me Amadeus" and Krizz Kaliko's well-known vocals on the chorus. It's a strong track to close out the album on a happy, party-ready note, complete with advice for would-be playas to follow. Kaliko also puts down some bars on the second verse, providing an early preview of the clever boasts and witty punchlines for which he would become known (including the comical boast and my personal favorite line of the track, "I'm in hot pursuit of a prostitute").
Instrumental rating: 4.0/5.0 The sample of "Rock Me Amadeus" provides a somewhat techno-flavored beat that gives the track something of an '80s feel. Produced by Robert Rebeck.
Lyrical rating: 4.0/5.0 The clever boasts were reminiscent of the macktastic raps for which earlier MCs such as Big Daddy Kane and the Notorious B.I.G. were known, and to me this will always feel like an old-school track that was simply released later.

Composite ratings
Instrumental quality: 3.3/5.0
Lyrical content: 3.9/5.0
Composite rating: 3.6/5.0
The album wasn't perfect, but it definitely does a great job of setting up this stage of Tech's career, as he was beginning the journey to becoming the most successful independent hip-hop artist of all time and would show the type of creativity and talent of which he was capable.

Throwback: Above the Clouds: A Tribute To Guru Part 2

Continued from Above the Clouds: A Tribute To Guru Part 1

Rakaa Iriscience of acclaimed underground hip-hop group Dilated Peoples took the time to contribute some more personal feelings on the influence of Gang Starr on his career and on hip-hop, as well as some of his favorite tracks:

"The Gang Starr Foundation always welcomed Dilated Peoples as family, and we always saw Guru and Premier as our cool big brothers. I can't choose a favorite song because their work is truly part of the Hip Hop structure, but joints that come to mind right now include "Full Clip", "Mass Appeal", "Code of the Streets", "Step in the Arena", "DWYCK", "Ex Girl to Next Girl", and "You Know My Steez". "Conspiracy" is ill too. The first verse of "Take it Personal" actually inspired my song "Delilah"."
Rakaa (Iriscience)
Dilated Peoples
Rock Steady Crew
Universal Zulu Nation
--
Rakaa...
Crown of Thorns

Before I close out this tribute with links to the aforementioned tracks for those not up on Guru or Gang Starr, the closing words of the article come from a friend, Brandon "DJ B-Roc" Foster. B-Roc can be heard every Friday at 7 pm Central Standard Time on WUSC, the official radio station of the University of South Carolina, with his hip-hop show "The B-Boy Life."

    "Every genre has their groups that only belong to them. They maybe legends in a grand scheme of things, but they are exclusive to that genre. Rock has The Ramones, The Sex Pistols, and The Grateful Dead. Soul has The Dramatics, The Spinners, and Bloodstone. Hip-Hop is the culture we represent and we have groups that are just as great to us as the other genres have the artists that are great to them. We have The Cold Crush Brothers, Whodini, and EPMD. But one group that is legendary, and I'm proud to say we never had to share was Gang Starr. Guru and DJ Premier are important to the culture of hip-hop as being one of the most prolific rap groups of all-time. This MC and DJ combination is great on so many levels. By being true representatives of a culture, they fully displayed the art of emceeing and deejaying. While at times I feel that they should be universally hailed like some other groups, I am still proud that they are exclusively ours.

As many people may know, Guru died exactly one year ago. The last few years he was here, it is widely known that he and Premier had some issues. However, with this tragedy, this has been forgotten, because the Gang Starr legacy is better than any beef nonsense they had. While only being 22, Gang Starr has been a huge influence on me as far as rapping and being a DJ. Guru was the king of the monotone style but so highly skilled. DJ Premier is one of the top 3 greatest hip-hop producers of all-time, and one of the greatest DJ’s also. Premo has done countless works throughout the years that has been nothing short of legendary with the likes of The Notorious B.I.G., Nas, Snoop Dogg, M.O.P., Jay-Z, and many more. But the bulk of his legacy comes with his brother in crime Guru. Guru and Premo are not only the one of the best MC and DJ combos, but also one of the best MC and Producer combos. There have been tracks by them that have influenced me personally as a DJ and a rapper. I will go through some of them and show you the greatness and importance of Gang Starr to me.

"Mass Appeal" was such a dope track. Guru was representing that pure, raw, emotional hip-hop sound, and that track was like sitting you down teaching you what you need to do to be dope. His flow was just ridiculous. Guru makes one of the best rap tracks of all-time with this cut. He is telling these rappers to not sell their soul for exposure, but stay in your lane and make the dopest shit possible.

"Moment Of Truth" is one of those songs that give me chills everytime I hear it. I mean the way he opens up. "They say it’s lonely at the top but whatever you do. You always gotta watch muthafuckas around you. Nobody's invincible, no plan is bulletproof. We all must meet our Moment of Truth." That song has always been amazing because it is philosophy. He was expressing what all of us feel at certain points when things do not go our way in life. It is more of poetry than rapping. This is probably their most important song in my opinion.

One thing about Guru is his great intelligence. “Street Ministry” comes to mind because the one thing I love about Guru was the continuous knowledge he dropped on tracks. While “Street Ministry” is very short (in which Premo mentioned was an influence on his love of punk rock and new wave), it is effective with the message even if you crave just a few minutes more. Sign of genius to me.
    
"Soliloquy of Chaos" shows just how great Guru was. Guru could rap about how cool and dope he was, but I think where he was great was being a storyteller and talking about madness and chaos in a situation. His flow matched the beat perfectly well. He captured the chaos of what was going on around him, and made us at the listener so engaged to what was going on in this environment. One of the best rap songs I ever heard.

I could go all day on the gold that Gang Starr has. But I would like to thank Matt for publishing it on his website. If you are not on Gang Starr, you need to with a quickness. They present hip-hop in one of its purest and best forms. Much love to you all."

Brandon Foster aka DJ B-Roc Foster aka B-Fresh
Hip-Hop Since 1989
Fourth Year Broadcast Journalism/English Student
Hip-Hop Director at WUSC

What more can I say that these folks haven't said? I leave you with a playlist of Guru's finest tracks, chosen by hip-hop's finest themselves.

"Tonz o' Gunz," from 1994's Hard To Earn. Chosen by Wrekonize.

"Moment of Truth," from 1998's Moment of Truth. Chosen by Wrekonize, Greg Enemy, and DJ B-Roc.

"Skills," from 2003's The Ownerz. Chosen by Wrekonize.

"Soliloquy of Chaos," from 1992's Daily Operation. Chosen by Wrekonize and DJ B-Roc.

"Above the Clouds," featuring Inspectah Deck, from Moment of Truth. Chosen by Wrekonize and Stik Figa.

"Full Clip," from 1999's Full Clip: A Decade of Gang Starr. Chosen by Wrekonize, Big Scoob, Bizz Gotti, and Nesto the Owner.

 "B.Y.S.," from Daily Operation. Chosen by Sean Price.

"In Memory of...," from Moment of Truth. Chosen by Mac Lethal.

"Manifest," from 1989's No More Mr. Nice Guy. Chosen by Big Scoob.

"Jazz Thing," from the 1990 Mo Better Blues soundtrack; performed by Gang Starr with the Branford Marsalis Quartet. Rereleased on Full Clip: A Decade of Gang Starr. Chosen by Big Scoob.

"Blowin' Up the Spot," from Hard To Earn. Chosen by Brother Ali.

"Mass Appeal," from Hard To Earn. Chosen by Cognito, Big Tigger, G-Macc, Dirtball, Fuzz Scoota, Rakaa Iriscience, and DJ B-Roc.

"All 4 tha Ca$h," from Full Clip: A Decade of Gang Starr. Chosen by Black Milk and cosigned by Great Mathias.

"Who's Gonna Take the Weight?," from 1991's Step In the Arena. Chosen by Planet Asia.

"Ex Girl To the Next Girl," from Daily Operation. Chosen by One.Be.Lo and Rakaa Iriscience.

"DWYCK," featuring Nice & Smooth, from Hard To Earn. Chosen by One.Be.Lo, Big Tigger, Consequence, Pacewon, and Rakaa Iriscience.

"Take It Personal," from Daily Operation. Chosen by Ill Bill, Steven Cooper, Necro, and Rakaa Iriscience.

"You Know My Steez," from Moment of Truth. Chosen by R.O.C., Swifty McVay, and Rakaa Iriscience.

"Just To Get a Rep," from Step In the Arena. Chosen by Seven the General, Ras Kass, and Sick Jacken.

"Loungin'," from Guru's solo debut Jazzmatazz, 1993. Chosen by Dirtball.

"Code of the Streets," from Hard To Earn. Chosen by Fuzz Scoota and Rakaa Iriscience.

"Step In the Arena," from Step In the Arena. Chosen by Krizz Kaliko and Rakaa Iriscience.

"Conspiracy," from Daily Operation. Chosen by Rakaa Iriscience.

"Battle," from 2002's 8 Mile soundtrack. Chosen by Great Mathias.

"The Militia," featuring Big Shug and Bumpy Knuckles, from Moment of Truth. Chosen by Great Mathias.

"Street Ministry," from Step In the Arena. Chosen by DJ B-Roc.

Throwback: Above the Clouds: A Tribute To Guru Part 1

Keith Edward Elam, better known as Guru, passed away a year ago today at the age of 48. He left behind a nearly untouchable legacy to the hip-hop world through both his work with his partner DJ Premier and as a solo artist in his own right. Guru and Premier, collectively known as Gang Starr, amassed one of the most untouchable discographies in hip-hop, including no fewer than two stone-cold classics and nary a subpar album in their discography. DJ Premier would go on to be the undisputed most respected producer in the history of hip-hop, while Guru somehow managed to stay fairly under the radar, quietly creating an underrated solo discography following his split from Premier. Either by himself or with Gang Starr, Guru recorded with legendary MCs, always leaving a strong impression regardless of whom he was teamed with through his trademark calm, smooth flow and mellow voice that undoubtedly influenced later MCs such as Mase and Fabolous. Guru consistently put out music from 1989 to 2009--a 20 year career, almost unheard of in the hip-hop realm. His sound with Gang Starr was the blueprint for hip-hop through most of the 90s, with Premier's skillful scratching and the hard boom-bap beats designed to keep the head nodding but still put the listener's full attention on the lyrics, and Guru's slick lyrics and memorable delivery were always worth it. For his solo career, Guru turned toward jazzier hip-hop and collaborated with many artists in jazz and blues, and the results were every bit as palatable, although not as influential, as his work with Gang Starr. Sadly, Guru succumbed on April 19, 2010, to complications from a heart attack he had suffered, and while his final days were marred with controversy, I'm not going to focus on that. Instead, I'm going to let hip-hop thank Guru for his contributions. A number of MCs that Guru influenced weighed in with their opinions on Guru's music. I simply asked them to name a song, or several songs if they liked, that was/were a favorite/favorites from Guru's catalog (I included a little info on the artists, in case the readers aren't familiar). I'll let them take it from here:

Wrekonize

"tonz o gunz.....moment of truth...skillz....soliloquy of chaos....above the clouds...full clip"
"sorry....got so many"
via @Wrekonize on Twitter

Wrekonize is an MC/vocalist for Miami-based genre-bending hip-hop band ¡Mayday!, signed to Strange Music.

Sean Price

"BYS IS MY FAV GANGSTARR TRACK"
via @SeanMandela on Twitter

Brooklyn-based MC Sean Price came to fame as one half of influential hip-hop duo Heltah Skeltah before starting a successful solo career. Price is also a member of the legendary Boot Camp Clik and the supergroup Random Axe and is signed to Duck Down Records.

Mac Lethal

"In Memory Of..."
via @MacLethal666 on Twitter

Mac Lethal, representing Kansas City, garnered acclaim for his work with Rhymesayers Entertainment. Lethal currently operates his own label, Black Clover Records.

Big Scoob

""Manifest" or "Fullclip" & l fucks wit "Jazz Thing""
via @TheRealBigScoob on Twitter

Big Scoob came up as a member of influential Kansas City rap crew Rogue Dog Villians and is currently signed to Strange Music.

Brother Ali

"Guru's best rhyme, strictly in terms of killing the mic, was "Blowin' Up The Spot" from Hard To Earn album."
via @BrotherAliMpls on Twitter

Minneapolis MC Brother Ali is one of the biggest names in underground hip-hop, a respected lyricist signed to Rhymesayers Entertainment.

Stik Figa

"...my favorite Gangstarr song is Above the Clouds."
via @Stik_Figa on Twitter

Stik Figa has been grinding independently for a few years now in the largely untapped hip-hop scene of Topeka, Kansas.

Cognito

"MASS APPEAL!"
"Yup Yup... #RIPGURU"
via @TheRealCognito on Twitter

Fairfield, California-based MC Cognito was formerly signed to Strange Music to release his debut album Automatic and is currently operating independently.

Black Milk

"hard 2 choose.. I'll go w/ "All 4 the Cash".. was listening 2 it the other day"
via @Black_Milk on Twitter

Detroit producer/MC Black Milk has steadily worked his way into a position as one of the most potent dual-threat artists in hip-hop. He is also a member of the supergroup Random Axe.

Planet Asia

"Who's gonna take the weight!!"
via @PlanetAsia on Twitter

Fresno, California MC Planet Asia is a member of the acclaimed hip-hop duo Cali Agents along with Rasco, as well as a solo MC in his own right.

One.Be.Lo

"DWYK"
"Ex to the Next"
via @OneBeLo on Twitter

One.Be.Lo came to be known as a member of influential Pontiac, Michigan hip-hop duo Binary Star before dropping a number of acclaimed solo albums.

Ill Bill

"take it personal"
via @IllBill1972 on Twitter

Brooklyn rapper Ill Bill came to notoriety as a member of underground hip-hop group Non Phixion before making a name as a solo MC, in addition to production work. Bill is the brother of underground rapper Necro and recently collaborated with Vinnie Paz of Jedi Mind Tricks for to form Heavy Metal Kings.

Big Tigger

"that's tough. Mass Appeal or Dwyck"
via @BigTiggerShow on Twitter

In addition to serving as the former host of BET's Rap City: Tha Bassment and 106 & Park, Bronx-born Big Tigger is the host of a syndicated radio program and part-time MC, appearing on tracks by the likes of R. Kelly and Ginuwine.

Consequence

""Gangstarr Has Got To Be The Sureshot" in the @GregNice Voice" (referring, of course, to DWYCK, which featured Nice & Smooth)
via @ItstheCons on Twitter

The cousin of Q-Tip, Queens MC Consequence made a number of appearances on A Tribe Called Quest albums before becoming affiliated with Kanye West's G.O.O.D. Music family.




Greg Enemy
"hmm, so many really. at the moment I'd probably say Moment of Truth"
via @GregEnemy on Twitter

Greg Enemy is coming up in the hip-hop scene of Kansas City through his work with peers Stik Figa and Dutch Newman as well as solo material with a style influenced by Nas, A Tribe Called Quest, and Outkast.

G-Macc

"mass appeal"
via @GMacc24oe on Twitter

G-Macc is an MC from Sacramento signed with Brotha Lynch Hung's Madesicc Muzicc label, taking his cues from the best of West Coast gangsta rap and horrorcore.

Nesto the Owner

"My fav Guru/ Gangstar track has to be "Full Clip" cas its dope and it was Dedicated to 1 of my fav Rappers BIG L"
via @NestotheOwner on Twitter

Nesto the Owner is another up-and-comer from the Kansas City hip-hop scene, perhaps best known for a pair of punchline-packed collaborations with Tech N9ne but also for his recently released album Manimal.

R.O.C.

"gangstarr you know my steez!"
via @IAmtheROC on Twitter

The R.O.C. began with Detroit horrorcore hip-hop crew House of Krazees before splitting from the group for a solo career. R.O.C. has more recently been associated with Insane Clown Posse's Detroit-based Psychopathic Records label.

Bizz Gotti

"my fav Gang Starr song is "Full Clip"....go check it out."
via @BizzGotti on Twitter

Bizz Gotti is an up-and-coming rapper from Kansas City whose latest mixtape Bizzy Valentine is available for download at datpiff.com.

Seven the General

"fa sho my favorite Guru Track is actually a @Gangstar track #Just to get a rep! Plus he was 5% godBody huge inspiration!"
via @SeventheGeneral on Twitter

Seven the General got his start as a respected battle rapper from Detroit and is currently working his way up the mixtape circuit and through collaborations with Detroit artists such as D12.

Ras Kass

"just to get a Rep!!"
via @RasKass on Twitter

Ras Kass is a legend of the West Coast hip-hop scene. Hailing from Watts, California, Ras has been hailed as one of the greatest lyricists in the history of West Coast hip-hop.

Dirtball

"Mass Appeal and Loungin'"
Direct Message from @TheDirtball on Twitter

The Dirtball is a hip-hop artist from Crook County, Oregon, who has long been affiliated with Suburban Noize Records and as of 2010 is a member of LA-based rap crew Kottonmouth Kings.

Swifty McVay

"You Know My Steez!!!!!!! R.I.P Guru!!!! Gifted- Unlimited -Rhym's -Universal"
via @McVayD12 on Twitter

Swifty McVay is a long-time member of Detroit rap crew D12.

Krizz Kaliko

"step in my arena" best gangster track. I think that's what it's called"
via @KrizzKaliko on Twitter

Krizz Kaliko is a genre-bending rapper and singer from Kansas City who has built his entire career at Strange Music.

Pacewon

""I chant eeny meeny miny mo, I wreck the mic like a pimp pimps hoes" - Dwyck..."
via @Pacewon on Twitter

Pacewon is a long-time member of New Jersey hip-hop collective the Outsidaz.

Steven Cooper

"I'm definitely gonna say "Take It Personal". So dope."
via @IAmStevenCooper on Twitter

Steven Cooper represents Warrensburg, Missouri and has made music in both the Christian and secular realms.

Necro

"LOVED GURU - FAV LINE - "RAP IS AN ART, YOU DONT OWN NO LOOPS, ITS HOW YOU HOOK EM UP AND THE RHYME STYLE TROOP" WHAT!!!!!!"
""SO DONT EVEN THINK, THAT SOMEONE BIT, OFF OF YOUR WEAK BEAT, COME ON YOU NEED TO QUIT" THATS 2 LINES OUT OF 100'S HE SPIT"
(lyrics from "Take It Personal") via @Necro_Is_God on Twitter

Necro is a Brooklyn MC that operates in a subgenre he refers to as "death rap." He is the brother of Ill Bill and is also a prolific producer.

Sick Jacken

""Just To Get A Rep""
via @SickJacken on Twitter

Sick Jacken is a member of Los Angeles hip-hop supergroup Psycho Realm.

Fuzz Scoota

"Code of the streets , mass appeal ,"
Direct Message from @FuzzScootaD12 on Twitter

Fuzz Scoota was an original member of D12 who appeared on early releases by pre-fame Bizarre and Eminem before parting ways with the group. He rejoined D12 just this year.







See Part 2 for more...