{mosimage}I had no idea that N.E.R.D. was dropping an album today until a friend of mine had told me about it yesterday.  I woke this morning and placed “Seeing Sounds” on; I was completely blown away by the beautiful blending of vocals of Pharrell Williams and Shay Haley and Chad Hugo’s production.  There’s no other group out that is hardly as eclectic as these two Virginia natives, and “Seeing Sounds” is definite proof of this statement being so true.  The song, “Everybody Nose” instantly bangs through my stereo and is extremely reminiscent of production of hip-hop when it was in its Golden Age (1988-1996).  This song is definitely something that you should add to your “Get the Party Started” play list on your iPod because it will for sure get your ass up and ready to hit the club. 

 “Seeing Sounds” is only 12 songs, and will have you wishing that it was 24 tracks longer by how complete and great it is.  This album has something for everyone’s musical pallet; “Anti-Matter” and “Everybody Nose” for the hardcore hip-hop heads, “Yeah You” and “You Know What” for the soulful cats, and “Spaz” for the rock fans.  The eclectic level of “Seeing Sounds” is damn strong enough to have music fans of all different genres to be able to find songs that will fit their personal preference.  “You Know What” being one of those truly feel-good songs has the power to have to nodding your head for the 4 and a half minute vacation to a musical utopia of peace that it takes you to. The smooth guitar and synth production and dramatic bass line in complete unison placed together with Pharrell’s contagious vocals and lyrical content, “You Know What” compliments “Seeing Sounds” completely.  Another song that you can add to that “Get the Party Started” play list for your “getting ready for the club” mood is “Laugh About It.” Pharrell’s vocals over the party-driven beats of Chad Hugo on this song makes you feel at ease with whatever is stressing you in your life; it has that element to bring the most stressed day into an ideal one.

By far every song on “Seeing Sounds” is great, but there’s something so incredible about “Sooner or Later.” The breakdown at the end of “Sooner or Later” is so dynamic that you feel invigorated by how talented all three of N.E.R.D.’s members are; a near seven-minute musical wonder it is for sure!  Who would have thought a song about an annoying person sending you text messages and calling you all day could sound so smooth?  Only N.E.R.D. on the song “Yeah You!”

Unlike most albums nowadays where you’ll buy an album with 15 songs and only 3 will be good, “Seeing Sounds” by N.E.R.D. will not be disappointing at all!  Go cop that! NOW!  “Seeing Sounds” blows most currently-released albums out of the water with its complete and utter sheer explosiveness of talent.  This damn album will be in heavy rotation for a long time.

The Grouch is a member of the California crew ‘The Living Legends’. He has said to have brought ‘a marvellous masterpiece’ to the underground world of hip hop. The California based artist produces his own tracks as well as raps which is something we don’t see often in underground hip hop, he also puts the music out there without a label, so The Grouch is really iconic to other underground artists. He may not have had the greatest publicity when he first began, as he used to sell tapes on the street. However this iconic status was achieved through hard work and respect.

The Grouch has hooked up with friends and associates to appear on the album ‘Show You The World’ which is dedicated to his daughter. There are quite a few guest appearances on the album with the likes of MURS, Raphael Saadiq, Abstract Rude and Scarub, with each of these artists lending their vocal skills.

We have already had a taste of what’s to come with his first unofficial street single off the album titled ‘Artsy’. The Living Legends member has created a video which has flooded message boards across the net. The track is well produced with catchy beat, and The Grouch deliverers a very chilled out hook. This tone and mood is repeated throughout the album with tracks such as ‘Yardwork’ and ‘Mom & Pop Killer’ and ‘Never Die’.

Living Legends label mate MURS is present on the street and club banger ‘The Bay To L.A.’ The duo rap viciously throughout the album, resulting in this being a more commercial up-tempo effort. The Grouch collaborates with more Living Legends artists this time in the form of Bicasso and Scarub, in their uplifting track ‘Hot Air Balloons.’ This track has a very quick beat continuously keeping the listener addicted to the melody.

Overall the album is very diverse with it having many different sounds and vibes, which are constantly changing during the entire release. This gives the album a very fresh, summery, and chilled attitude. This album sets a great tone for the upcoming summer any no doubt contains tracks which, will be played over and over again.

Rating – 3.5/5

Here at HipHopRemix we try to review and show various types of hip hop music from the lackluster attempts of MIMS to Brother Ali’s innovational music tracks. Well today I am proud to announce Cava to the latter category. The soul singing music maker brings a new flavor to the hip hop community. A breath of fresh air coming from the Bay Area of San Francisco drops her debut album “Give In Let Go”.  If a comparison could be made for those have yet to hear Cava would be that of Alicia Keys but with (real) hip hop / jazz / and a futuristic style…which in the end cannot truly be described because it would not give justice to the music itself.

Labeled as singer/producer Cava doesn’t just sing good melodies with catchy hooks she makes great music PERIOD. The praises for this album can’t be said enough. Dropping on March 25^th from, get this, her own label – Cava Music Group. Cava Menzies sings and produces her soul shows it in music form. From the sultry voice in “Strides” and over the R&B -Jazz track of “Sorry” she shows just what good music truly is.

On the album titled track “Give In Let Go” featuring D.U.S.T. who fits perfectly with the innovative style that Cava brings to the table. D.U.S.T. who shows to be a South African MC holds his own with Cava dropping in between verses with hooks  will have you turning the track up and wearing out the repeat button.

Though destined not to be boxed in Cava gives us “Last Days” featuring indie hip hop rapper Zion which makes a laid back vibe asking the all important question, “If these are the last days of your life – what are you going to do to change? If this is all you’re living for – you better start today.” The keyboard in the background with the help of Zion will leave you in a trance.

Only 11 tracks deep, which consist of an interlude and a short intro is the only real short coming of this album. While this is her first album we can only hope and pray that we get more from this talented artist. One thing is for sure though before popping in this album make sure your repeat button is working because you WILL be hitting it more than once – which is rare in this industry.

For more information on Cava and her music abilities check out her myspace: http://www.myspace.com/cavamenzies

Indie hip hop has gone in only one direction – good music. Sky 7th can join the group of indie artist who are going away from the mainstream of money, drugs, women and just catchy hooks.  Being his first album release IrRealty Show is actually a play on words depicting what exactly reality truly is as displayed on tv. Listening all the way through there are several stand out tracks, but the transitions between each track is thing that gets this writers attention. So many times when I review an album you can tell the various producers involved within 5 seconds of the beat dropping.

A big fan of the QN5 and especially Decon production Sky 7th gets some help from the Villain on “Breathin’”. The laid back vibe of the track will definitely get you nodding your head and the rhymes will keep you rapping the rather simple hook of “Just Breathin’”.   Yet, don’t think the rather simplistic hook defines the track because then you’ll miss out on verses like:

“Everybody got a notion of what an emcee is

Tell me how to speak my piece and how to reach ‘em

Shut the fuck up its just me take it or leave it

 What’s hot in the streets? Ain’t really no secret

The play of poverty addiction conviction is twisted

Soundtrack the world you live in

I ain’t who I rhyme for no rappers rap

Real recognize real recognize the actors”

One stand out track though is “Everyday Struggle” which features Lou Sleefe (combined are Blueface) shows the production of Soulfresh is nothing short of a banger of the year. This gives hope to future collaborations between Lou Sleeve and Sky 7th as they go bar-for-bar.  Going with the trend of making music from the newbie to long time lover of hip hop Sky brings “Find Me An Angel” which features Rufus Troy and production to 5 Lyfe. While the singing may seem a little off it doesn’t take any less from the track where he spits from how he used to get into trouble to giving thanks to those angels that hold him down. Whoever has thought about their past “Find Me An Angel” will not only take you back but leave you nostalgic.

“Dirty Carpet” another banger shows off his house party-esque mentality in the form of the ol’ Kid N Play days.  This is another banger that as soon as the needle drops you need to put on blast. Yet, turning to "In Any Minute" you find the catchy hook that you can't help but rap out loud the next day in class and at work:

"If its a penny for your thoughts – whats a dollar for a dream?

Lost in a cause some are caught up in between

Thinking in the terms that the world were living

Right now – cuz it can end any minute."

Another feature with Lou Sleefe with some great production off 5 Lyfe is “Back Into The World” where as soon as the beat drops you can’t help but want to turn it up. Coming from nowhere Lou drops some heat where conspiracy theory meets hip hop with energy I haven’t heard in a long time since Immortal Technique.

Being the first album from this Midwest emcee is not just a great starting point for his career in the music industry but the ability to pick 17 tracks that slide through one another is a difficult task,  in today’s hip hop, only shows that he has what it takes to take it to the next level and I’m really looking forward to that alone.

Check out more at his myspace: http://www.myspace.com/sky7thmusic 

In his latest release “Sacrifice” Substantial doesn’t just spit some “dope rhymes” over “dope beats” – he takes life and becomes one with hip hop in its purest form. Just from the beginning “That Damn Good” he lets you know why exactly he is…THAT DAMN GOOD! Yet, it doesn’t stop there “Resurrection of the House Party,” he dedicates it on the hook:

“This is for my people that’s sick of the club // If you miss house party’s then give me some love”

Giving a reminisce to the old school Kid N Play “House Party” and makes you want to start imitating the dance off for a good time.

Yet, don’t try to put Substantial in some type of category because as soon as put on “My Favorite Things” you’ll be blown away how well he can hold himself with a smooth jazz in the mix.

“See an ignorant man made a statement that’s so wrong
When he said rap music is an oxymoron
True most of us don’t sing some curse when they’re rapping
Some of us use sample and others utilize scratching
But it’s still all music stop judging and listen
Some of the joints you don’t like were the best songs ever written
No genre that was conjured has accomplished what rap has
Filled with brilliant poets who you thought just rap fast
And that’s sad, only heard when using curse words …”

Of course being on the QN5 roster you can’t help but get some dope music and thanks to Kno on “It’s You (I Think)” Substantial drops on the bridge about a past love relationship, “

(It's like) we… Love to live and live to love
Oh how… tough it is to give it up
When there's… enough to get, can't get enough
And when it gets rough, you ask yourself, "Is this love?"

Yet it doesn’t stop with Kno on the boards (of course) you gotta get Tonedeff on definite banger “Spaticus (Spit 4 Spat)” and Deacon the Villon on slowed down joint “A P.G. Boy” but it’s Algorythm who puts in some great work in “U Can Get It” and let’s not forget “Sign Language” which features Extended Famm.

In the end Substantial doesn’t just go par for par – he’s knocking holes in ones each time he gets in the booth. While this is only the 2nd album from the Maryland emcee you know it’s nowhere NEAR the end but the beginning of this talented artist.

Get your fill over at his myspace: http://www.myspace.com/substantial  

They say you need to get shot/convicted to get a buzz going in rap nowadays. With no one in the mainstream listening to the lyrics, you need some sensationalistic saucy press releases to get people interested in the MC and not just the beat. John "Fabolous" Jackson doesn't need this, however. He's a vet, this is his fourth album…no wait, he got shot in the leg at the end of 2006 and all of a sudden he's got an album coming out and Def Jam are giving him a big push despite their marketing department sleeping straight through the releases of much bigger names like Method Man, Ghostface Killah and Redman.

Dej Jam has really gotten into this record, even pulling Lil' Wayne from the original version of single "Diamonds" and replacing him with Young Jeezy, because they wanted a DJ artist on there. Speaking of guests, out of 15 tracks, only the first two are Fabo alone, and one of those is an intro mini-song. It feels more like a Fabo hosted mixtape as a result, and the album is a cold, calculated attempt at making a commercial giant.  I'm sorry Fab fans! But I think your man's sold out. He sounds entirely complicit.

Where's the Real Talk? The guy who started his 2004 album with the incredibly provocative and confrontational Exodus is now apparently doing whatever he's told to sell records. Any fan of the East Coast/New York style Fab claims to represent must've fainted when they first heard "Diamonds." A thorough Southern copycat song, it's as dumb as a box of bricks, as Fab and Young Jeezy rap purely about how chicks want to sleep with them because of their chains. To Fab's credit he is a skilled lyricist who manages to put some wit into it:

"This tiger stripe watch, make the bitch a Bengals fan

We all know Jacob, check the shit he did

We spent more time making the band than Diddy did"

but as he's using his skills on such asinine subjects it leaves a bad taste in the mouth over the course of the album. It's almost entirely "I get paper, I'm a gangster, I fuck hoes" which is par for the course for major label hip-hop but Fab always promised and hinted at more. Now he's just on that corporate dick.

The track, "Brooklyn" follows "Diamonds," possibly as an apology to NYC fans, an ode to his home neighborhood to show he's still down with them. It just adds salt to the wounds, being the weakest track on the album, a dreadful droning hook with an irritating Biggie sample woven in. Jay-Z drops in and Jay-Z + Fab teaming up to rep Brooklyn should be huge, but this flops. Uncle Murder, current poster child for "I shoot niggas" rap, also turns up to cement the disgrace.

Basically if you're a fan of Fab, this record is probably going to really piss you off. If you're a real hardcore hip-hop fan or lyrical fellow it's also a no-go zone. But stick around kids, because as a piece of hip-pop, this is pretty strong. For example, "I'm The Man" may be embarrassingly braindead on the lyrical front, but Reefa's huge boomin' production is really somethin' to strut to. Flows are smooth, production is catchy and strong, there's a wide variety of name guests and a lot of it sounds like they could be good singles. There's no real meat around all that radio ready sugar. But, if you like that radio ready sugar, dig in. T

he album kicks off with the title intro, Reefa's firey guitars giving an epic, triumphant vibe as Fab just goes nuts for a couple of minutes before the first real song, "Yep I'm Back" comes on. Yep I'm Back is the second and last time you'll see Fab on his own and it's pretty good, giving him ample space to exercise his rapid but nonchalant flow over another huge beat from Freebase. Then the stars start rolling by. First is Akon who produces and guests on "Change Up." It's a typical Akon joint, him singing a catchy/irritating (depends on your mood) hook while Fab fills in time between it. Then the super-powered single "Make Me Better" comes on. Ne-Yo's wonderful voice and Timbaland's mesmerising strings providing the frame for Fabolous to paint a picture of his idea of an ideal relationship in. Much mocked computer-assisted singer, T-Pain, turns up on the Jermaine Dupri helmed, "Baby Don't Go." It's Dupri, which means you'll hate yourself for liking it, and like it anyway. Dupri's the king of hip-hop guilty pleasures, peppering his snappy beats with little touches of melody and synth that really get into your skin.

"Baby Don't Go" and "Make Me Better" are just two of a sizable number of "tracks for the ladies"- is Fabolous breaking hip-hop's misogyny or is he just trying to widen his commercial appeal? I suspect it's the latter, but ladies might dig it anyway despite the cynicism as so many hip-hop albums either ignore them or abuse them. In this category we also find "First Time" featuring Rihanna, which is a bit rote as Fab tells the story of how he first got into her pants. The chilled out, lush "Real Playa" Like may be the most successful of these slow-jam-like tracks, Polow Da Don's strings are syrupy but are balanced out by Fab's ghetto vibe. Guest hook singer, Lloyd, has a good voice but he sounds like a woman which turns me off a bit.

After so many cuts of lyrical nonsense it's truly disorienting to find Fab suddenly dropping real science. The album ends with the realest hip-hop shit on here– a hardcore six MC gangsta smackdown. It's not really Fab's show as he just drops one verse like the others (who include his brother Paul Cain), but it turns out to be a winner. Despite being almost seven minutes with no chorus, Nova's snarling, tough as hell gunshot speckled beat keeps it going while the boys talk smack as in this excerpt from Freck The Billionaire's verse:

"I'm the best, hands down, like 6:30"

Casual hip-hop fans and those wanting a hot summer jam are advised to give this a look. Those more serious about the genre are less likely to be satisfied and should approach with caution.

Rating: 3/5

Enter 1996. Michael Jordan and Bugs Bunny, together at last, jointly starring in the film Space Jam. Logically, this union resulted in the biggest hit in a career made of big hits, R Kelly's "I Believe I Can Fly." Epic, cheesy and irresistable, "I Believe I Can Fly" ate the world, showcasing one of the smoothest most sellable voices alive today. Did you like I Believe I Can Fly? Want to hear more of that? Then run away screaming from his new album, Double Up, Robert Kelly's latest studio offering. Pulling a middle finger to the spiritual, sensual side he's shown in the past, this is a hardcore hip-hop slew of tracks about shining in the club, freaky bitches, and shining in the club. Oh, and freaky bitches. And shining in the club.

After a fairly terrible intro where Kelly aggrandises himself while Swizz Beatz shouts "motherfucker", we get to the title track. What does Double Up mean exactly? Sleeping with two women at once. R Kelly and Snoop Dogg, best chums after "That's That Shit," swap misogynistic lyrics about getting into a threesome over a thin, repetitive beat, which left me scratching my head as to why this is the title track. A better and more honest choice would've been, "Freaky In The Club." More fun than the title cut, "Freaky In The Club" is cheap and cheerful but a little more easy-going than some here, and the bit where the music cuts out and Kelly announces "TIME TO HAVE SEX" will make anyone smile.

Unintentional comedy is a stock-in-trade of R Kelly albums, a fact known the world over post the Trapped In The Closet fiasco. It can be found in "The Zoo" which has a bare, sexy beat and a sensual performance from Kelly, which is slightly spoiled by him continually saying things like "Like Jurassic Park, except I'm your sexasaurus" and the use of monkey noises. Like "The Zoo," the near six minutes of "Sex Planet" is a great background mood soundtrack for making love, but don't concentrate on it or his childish space/sex metaphors are too much to bear.

"I enter into your black hole", "This will be painless, we'll take a trip to Planet Uranus." By the way, Mr. Kelly is 39.

The ladies will also be served by "Sweet Tooth," a familiar but enjoyable lover-man number. But, they will be disappointed by the Usher collab, "Same Girl." Usher and Kelly should be huge but Same Girl is just bleh- the plink-plonk piano thud beat goes nowhere, the lyrics are boring and the dialogue approach makes it more a voice acting exercise than a song.

Getting back to the club joints which are the meat of the album, you wouldn't turn off the radio for them, though few are special. I quite liked the bouncy "Hook It Up" which is rather similar to "Double Up" both in subject and structure, but it's livelier. The song "Rollin," held down by Kelly himself with no guest rapper, is a truly excellent song for driving too- he doesn't just sing about how great his car is, the beat is lazy but sure and begs you to cruise down the strip to it.

Elsewhere in this vein, the big hit "I'm A Flirt" has a supremely catchy track, the unstoppable piano melody ingraining itself permenantly in any brain that hears it. This is the remix version with Bow Wow cut out and replaced with TI and T Pain. TI's a better rapper than Bow Wow so that's an improvement, but T Pain's guest spot just serves to show that he has no chance against a real singer like Kelly. Thank heaven Kelly's in great form, sounding like he's really having fun.

A song that mixes up the production is, "Rockstar," Featuring Ludacris and Kid Rock. Luda's flow sounds right at home over Rock's huge guitar riff and the huge storming beat, not to mention Kelly is no vocal slouch on the track. Actual rock fans may be a bit puzzled by the song's definition of a rock star, which turns out to be a woman with a big butt.

When he cuts the shit and does something real it remains special, but he barely does that at all throughout the lengthy run time. A much needed exception is found in "Havin' A Baby" as Kelly roleplays a father who finds out his wife is expecting. Charming, sweet and genuine I wish this track had been expanded or he'd visited this territory more. He comes close with "Leave Your Name," a lovely, intimate track where he admits how wasted he is from his opulent lifestyle. The most sincerious song on the album is, "Rise Up," dedicated to the victims of Virginia Tech. It's a nice gesture but it sounds like something from a Disney soundtrack, and is not the convincing emotional climax you want.

Double Up's problem isn't that the songs are horrible. In fact, only the potty-mouthed and musically dull "Real Talk" is garbage. The problem is, that it doesn't work when listened to in its entirety. The songs individually are acceptable for soundtracking your living room or going off in the club, but sit through the whole 76 minutes and you'll be exhausted and bored. The hip-hop beats he's using are not conducive to his classic spotlight singing, so he doesn't do much of it, going for a ho-hum sing-song talking style.

Kelly's old fans may be horrified, though youngsters are liable to be satisfied and titillated by the clutch of competent club bangers and sex songs.

Rating: 3/5 

T-Pain, aka Faheem Najm to his mother and the IRS, is a funny phenomenon. He's a self-confessed failed rapper who turned to singing– but he's not very good at that either, so, he uses computerised tools to alter his voice to make it palatable. Yet despite the talent deficiency this suggests he's become an in-demand star and it's simply because the man understands the principles of catchiness. Under the guidance of his mentor, the not entirely dissimilar Akon, he writes and produces his own material and manages to inject just enough doses of widely appealing melodies and urban vibes to get him on the charts. It's not many artists who can make the following hook hummable:

"Let's do a 69 In the back of my Lincoln with the suicide doors"

but he had me walking about quietly singing it to myself for days, much to the consternation of co-workers. The song in question, "69", is explicitly about what you think it is but T-Pain plays it with an incredibly straight face, sat at his piano with crooner J Lyriq sounding for all the world like he's advertising Pepsi. It's so breezy and poppy that lines like "When she was suckin' on me, I was lickin' on her" could pass right by the relaxed listener. This level of sauciness rears its head a few times and always in the company of equally awkward lyrics. On paper T-Pain is wildly unsexy- he opens ode to automobile-eroticism Backseat Action with:

"Baby I been waiting for you to come home

Cuz I done cleaned out the backseat, cleaned the top

And put some new 24s on the Brougham"

Well he's got me hot. Yet this song features T-Pain's trademark vocoder skill as he takes what could otherwise be a real clunker of a vocal and twists it electronically. If you remember Roger Troutman, or Cher's mega-hit "Believe," you know how cool this can sound. Generated through the vocoder, T-Pain's otherwise unspectacular voice takes on a dramatic quality as intoxicating cascades of electronic notes spice up the performance. "Yo Stomach" includes the show-stopping:

"I'm in love with your stomach

It's the reason that I'm singing this song

Because I got nothing else to bust a nut on"

over his usual pop/soul hybrid of a snapping beat layered with synths and pianos. Basically you need to be able to take some clumsy freakiness- but there is one successful love song, "Put It Down." With a perfect silky hook from Ray, Teddy Pain roleplays his two alter egos (Teddy Penderazdoun, the lover, and Teddy Verseti, the gangster) sexing the ladies via his hyped up rapid rapping. This is also used to effect on "Church," one of two gangsta tracks. "Church" sees T-Pain challenging his haters over a fast-paced guitar lick and some live African percussion that has the potential to fire a listener up. The other gangster track, "Shottas," is less successful. Dancehall guests, Cham and Kardinal Offishal, have such a huge microphone presence that they take the track over and T-Pain is barely noticed. It has a very heavy hardcore vibe that doesn't fit into the rest of the album. On the poppier side, "Buy You A Drank" has already been a big hit but I really don't know why. Immaterial snap music and a dreadful guest from rapper, Yung Joc, means it's up to T-Pain's voice to save the day…and it doesn't. A better attempt is, "Bartender," which is corny, but smooth and pleasant, as T-Pain uses backing harmonies to underpin his tale of hitting on a cute mixologist. Tipsy is similar but may offend some as T-Pain openly sings of encouraging girls to drink more so that they'll go to bed with him.

There's also a more serious side to the album. "Suicide" has noble intentions, warning youngsters not to commit foolish actions that will ruin their lives, but it sounds horrible as TP hollers tunelessly over an empty backing. Blunt unpoetic lyrics really don't help:

"I fucked her and didn't have a rubber on me

It seems I had to find out the hard way

That the girl that I found in the crowd, she had HIV"

It's an admirable message but as a song this crashes to the ground. "Time Machine" is a little better, a reflective laid-back wish for simpler times. Musically it's morem effective than "Suicide," but once again T-Pain's weak lyrics hold it back. The third and final serious song is also the best, "Right Hand." Fortunately not about masturbation, it is actually him confessing an affair to his wife and his strongest vocal moment on the record as he substitutes his vocoder for real emotion. Presumably these "real talk" tracks are the reason the album is called Epiphany but they don't really support that. Don't be misled by the title, there's nothing revelatory or particularly sincerious going on here.

So there's some sex, some pop, some partying, some thug and some sincerity, basically all a fan of modern urban music could want. Only T-Pain is a bit of a jack of all trades, master of none. He covers his bases but weak vocals/lyrics and some rote production mean nothing special is in the offering. He's generally catchy and acceptable but rarely more. Better production can be found on Fabolous' From Nothing To Something, better vocals on R Kelly's Double Up, both of them shots at urban/hip-hop summer anthems like Epiphany, and I'm sure more and better will be coming over the next couple of months. Epiphany isn't a total flop but is weak enough to warrant passing over in favour of more muscular records.

 Rating:  2.5/5

Who has rocked the stage with the likes of Jay-Z, Ludacris, Ghostface, GZA, Raekwon, KRS ONE, Jedi Mind Tricks, El-P, and other various other hip hop all-stars? Who is twice as arrogant as Kanye West? Who is a world renowned ex-battle champion who has solidified himself as a charismatic emcee and lyricist?

…and who is the man that preaches, teaches, and beseeches the ‘3rd Renaissance’ with speech?

iCON the Mic King—one of the most devoted and fanatical independent artists that you can find swimming in hip hop’s up and coming talent pool. This North Philadelphia original boasts a complete emcee package bursting with an east coast entrenched sound, passionate lyricism, and a throwback mind state that remains dutiful and beautiful to the TRUE roots and foundations where hip hop was built. 

Despite a waterlogged hip hop market, iCON the Mic King still remains a consistent connoisseur of classical hip hop composition and promises to continue to make strides to enhance the weakening genre until it is ready for its resurgence.

HipHopRemix sits down with iCON the Mic King to talk about his new album, “Mike and the Fatman LP,” his frustrations with the industry grind, what he hates about hip hop fans, and enlightens us about hip hop’s up and coming ‘3rd Renaissance’–

Wreck HHR: For those that sleep and live in the weeds, why don’t you tell everyone who iCON the Mic King is and what he is all about…

Icon: iCON the Mic King is the best rapper ever! Right now my purpose is to bring about the 3rd Renaissance of Hip Hop where people are going to be making soulful music with amazing lyrics—kind of like how I do. 

Other than that, I’m just about making great music, seeing the world, and spreading my message.

Wreck HHR: As an up and coming artist has the “grind” ever gotten to you? Frustrated you? Have you ever wanted to give up?

Icon: Absolutely. I never really quit but I have gotten to the point where I have wanted to quit numerous times. One of the main reasons that I don’t quit is because I am so stubborn. There is also this old story that says people tend to quit right before the point where they would have made it. So, I can’t bring myself to quit because I actually might make it to the next step.

There comes a point where you get heavily frustrated with this, but I can’t stop because this is what I want to do and this is my dream.

Wreck HHR: Is it that you get frustrated with the fans or does it just take a toll on you after awhile, because the work and effort you have to put in is so grueling?   

Icon: I kind of get frustrated with the fans in a way because I am doing everything I can and I just need you all to meet me half way. But, it’s not the fans that get to me– that isn’t not their responsibility. I don’t expect them to have to go out and find me, I have to do more, and I am obviously not doing enough if they are not hearing about me.

It really comes down to frustration with the industry…the game. Everything is so saturated now it’s like you have to do way more then you had to do before to make headway. I get frustrated because all my efforts don’t make the headway that I expect them to.

{mospagebreak}

Wreck HHR: Is rapping a full time occupation for you or does Icon punch a timecard?

Icon: It was a full time occupation until last July when I got into a bike accident. Not even a cool motorcycle accident—I mean BICICYLE accident. So, you know when you rap you don’t have any health insurance, so, I had medical bills and was like yo…I need to get a job so I can pay for this. Then I got used to having money. I just got fired from my last job 2 weeks ago and got another one this past Tuesday.

Wreck HHR: What did you get fired for?

Icon: I was touring too much. With the job I had became the boss after a few months and when I wasn’t the boss I was doing my touring. So, once I became the boss I figured I would keep touring (laughing) and after awhile the owner of the company said it just wasn’t working.

Wreck HHR: What does money mean to you? What does music mean to you? Can you honestly say that money would never affect your music?

Icon: I don’t look at money like I have to have a lot of it. Honestly, I’m not all that good with money. I can save but if there is something I want—I’ll get the money for it. I’d rather have something FOR the money than have the money itself.

Music—is very important to me, its something that’s the perfect expression, and something that hits me in the heart. People should regard it as something very important. Artistic expression in itself should be held in high regard in itself because it’s a physical manifestation of your soul. Music is way more important to me than money is. I’ve dedicated my life to it and that should show you exactly what it means to me.

As far as money changing my music—I think if anything it would expand my world view. I would have my resources to do what I wanted to do but I wouldn’t be one of those people that got money and then said, “Oh! Let me start rappin’ about champagne!” It would just help me know more, grow more, and get more experience.

Wreck HHR: Personally, I say fuck the phrase “hip hop is dead” but at this very moment what is hip hop’s status in your eyes? Would you eliminate anything from it? What would you add?

Icon: This brings me back to the whole 3rd Renaissance thing I was talking about. Rap has reached its boiling point as far as terrible music goes. Everyone raps now, the market is so saturated, and people aren’t really focused on making albums now—they are more focused on making quick music for money. It’s kind of like ‘microwave music.’ I got to get my ‘hot 16’ over a Just Blaze beat with my R. Kelly feature. It’s so paint by numbers now and not organic at all.

 What I see happening soon though is another Renaissance in hip hop. Like if you remember ’88, the golden era, our 1st Renaissance and then you got say ’98, the lyrical era—Eminem, Canibus, all the Wake Up Show heads, and the Lyricist Lounge heads. What I think is going to happen is in 2008 its going to be an actual marriage of great music binding together people that can actually rap. I’m not saying we are going to take it back or nothing, I feel that we need to progress. We need to stop making music like its’95, we need to stop trying to re-create Tribe Called Quest and Wu Tang records, we have to go forward with our sounds, and stop making music that’s kind of boring.  See, I think that’s one of the problems with the ‘underground.’ People can rap but a lot of music they make is boring. The problem with mainstream is a lot of people can’t rap but they can make ‘good music.’ Basically, we got to bring those two things together—good music and good rapping—and I think that is about to happen.  Fans, especially with the new technology, don’t have to put up with trash anymore. That’s why the record sales are down because they don’t need to buy these terrible records for one song anymore. They can just download that one song and keep moving. I think, in a way, it’s also a bad thing because technology is making fans miss out on the modern day classics, ya know? When you download an album you skim through it and if the tracks are hot within the first 8 seconds MAYBE I will not erase this. When we were younger you had to buy a tape and sit with it for months because you couldn’t afford to buy another tape. That gave you a chance to digest the music and now there is just so much music, it’s so easy to get, and now we don’t digest it AT ALL. Even when we do get something we like we don’t listen to it that much.  

With the Renaissance coming I think the music is going to be so good that the heads are going to WANT to sit there with a record for awhile.

{mospagebreak}

Wreck HHR: I feel the same way actually—that the ‘underground’ is rising and better music is being played, heard, and loved. You got great artists now getting signed to major labels and the fans are loving Kanye, Lupe, Little Brother, etc, but, my question is—do you think these independent artists that are coming up will be able to hold the masses attention? Do you think they can boost the record sales back up again? Is this ‘uprising’ or ‘Renaissance’ even good for hip hop?

Icon: This ‘uprising’ is definitely good for hip hop. Kanye is a perfect example that it CAN happen. He is someone with the Tribe Called Quest ethics that combined it with a new sound and people flocked to that because he represents the common man. He doesn’t rap about mone…well, he does now…but, his main thing is about rims, champagne, etc. He raps about things the average person can relate to.

It’s all about how we package it. If we give our music heart, good beats, construct that good music, and rap about things people can feel—then there is nothing stopping us from grabbing people’s attention and holding it.

Wreck HHR: Do you think these artists that switch their styles after they sign to a major really want to rhyme about half the things they rhyme about? Do you think the A/R men and label has that much pull or what?

Icon: It’s like being popular in high school. You may not want to do these things but I think they see it like—we gotta do this to be cool, to get money, and that’s why they follow the trend and that becomes the norm.

 But what happens is the artist gets to the label and says “here’s what I do” and that’s when they go through artist development where the A/R dudes are like “nah, you got to do this, this, and this.” The artists think ok, I can keep my integrity or I can do this and make money. A lot of those dudes that go to those labels might have had a lot of artistic integrity and made great music before, but they got an opportunity to make money—and it’s hard to turn that down.

Wreck HHR: What is the #1 thing you HATE about hip hop fans?

Icon: (Laughing) I guess there sense of entitlement sometimes. They feel like they own you and want you to be their personal, private artists. I love hip hop and I love to interact with fans and love to talk with them, but it’s like sometimes they cross that line. If you say one wrong thing to them then they say ‘that guys a dick’ and go on some campaign on how terrible of a person you are.

Wreck HHR: Those damn message board nerds, man…

Icon: (Laughing) Yea…that’s why sometimes artists keep that mystique so fans don’t cross that line.

Wreck HHR: I’ve been noticing that a lot of underground acts love to tour overseas and they get such a dope response from their audience. Do you feel that the Europeans/UK are more hip hop intelligent than Americans? Is it an entirely different atmosphere?

Icon: It’s definitely a different atmosphere but I don’t know if they are more hip hop intelligent. In a leg, they are behind us in the development of music. So, they still have a pure outlook on it and have a bigger respect for it because it is not as saturated over there. Over here everyone on the street raps, you don’t want to hear another rapper sometimes, and you don’t want another dude coming at you selling a cd. Where over there its not as common…yet. They still respect and appreciate it. They still look for things…It’s kind of like the early 90’s out there—they still appreciate it and that’s the biggest difference.

Wreck HHR: Let’s talk about the new record. Its called “Mike & The Fatman LP” featuring Chum and it came out in April. Why should heads go out and cop this record A.S.A.P.?

Icon: It’s good hip hop music. It isn’t anything groundbreaking or progressive but it is straight up good hip hop music. Dope rhymes, great boom bap beats. You want good music—buy the album (laughing). It’s not going to transform you into a cartoon or anything…

Wreck HHR: Any guest spots?

Icon: I got Killah Priest from Sunz of Man, I got a joint on there with Blue Raspberry and that’s about it. I’m not really all that into guest appearances…

Wreck HHR: It’s about time! I think you are the only one in the past few years without 27 guest appearances on their album.

Icon: (Laughing) Yeah, I hate that. It’s kind of like you are making a cameo on your own album. If you do that you can’t perform that song anywhere. Why make a great song with somebody else when you can’t show it to people? Let’s say the best song on my album is featuring somebody…but I can’t rock that song at a show. People are going to be like, “Yo, I love that song,” but if that man isn’t available—what’s the point?

{mospagebreak}

Wreck HHR: What are you currently working on? Any future projects to look out for?

Icon: Yea, I’m working on this record right now called, “The Season of Our Discontent,” and it’s produced by this kid named Blasta Beats from Portugal. It’s going to be my first record working towards the Renaissance with straight soulful beats and incredible rhymes. I keep talking about this ‘Renaissance’ but this is going to be the first thing that I do that will make people understand what I mean.

Me and Chum are also working on some new stuff. I’m considering doing a electronica record with these dudes named Animals on Wheels from the U.K. With that, I kind of wanted to try something different. I’m not saying I’m bored with hip hop but I just wanted to try some new things, play with flows, a little bit experimental I guess?

Wreck HHR: 2007 has been pretty good so far. Any albums you have been feeling so far?

Icon: You know what…I don’t even know what came out this year (laughing). I haven’t been checking for anything. Actually, you know what that new El-P…especially that joint “Smithereens” that shit is hard. Other than that, I don’t really check much. I listen to R&B, dawg (laughing). I listen to Musiq Soulchild and John Legend. Basically, my favorite album from last year was that Pharoahe Monch mixtape.

Wreck HHR: Here’s another generic one– If you could make a track with anyone in the industry who would it be?

Icon:  Alicia Keys. She would produce and sing on it and I would just kill it.

Wreck HHR: Here’s the age old question that everyone wants to know even though its mad old—ever talk to Copywrite after…

Icon: Nah, I haven’t talked to that dude since I socked him in his face. I wish him the best. Good luck with your comeback and have my money when I see you.

Wreck HHR: What is Icon the Mic King going to provide his fans in the future?

Icon: I’m working on re-doing my website—put a lot of dynamic content for the fans they can check out. Video blogs from the road, new music, etc. Also, new music period,  I’m trying to get out on the road more, and I’m just trying to be visible to the fans because now that I’m starting to grab a few—I don’t want them to forget me…I still got a lot of things to say to them.

Wreck HHR: You already touched on this earlier but lets get deep. Why do you do this anyway? What is your muse, your catapult, your motivation to make this hip hop music?

Icon: (Laughing) Wow. I rhyme because I love it. There are a lot of things not being said and I feel like I am the right person to say them. I’m filling the void for what I think is missing. This is my purpose, this is what I am supposed to do, I am meant to go out there and be a voice for certain people. I also love spreading positive energy by sharing myself with the world.

Wreck HHR: Shout outs, shameless plugs, have at it…

Icon: I just want to shout out my girl (laughing). Shout outs to the fans and definitely shout outs to HipHopRemix.com for reaching out—I appreciate that.

Hip Hop Remix supports independent artists and so should you! Check out more from iCON the Mic King @:

http://www.iconthemicking.com/

www.myspace.com/iconthemicking

"Mike and the Fatman LP" available nationwide.

Artist: Zeph and Azeem	Features: Luv Fyah, Joyo Velarde, Tony Moses, DJ Teeko, and TuT
Album: Rise Up	Highpoints: Rise Up, Ten Steps Ahead, Time To Wake Up, and Play the Drum
Release Date: May 22, 2007	Lowpoints: Interludes
Tracks: 15	Duration: 51 minutes

 What do you get when you mash up a champion slam poet with a renowned turntable wizard and beatsmith? You get one of the most refreshing, creative, original, and awe inspiring album of 2007 and the last 5 years.

DJ Zeph, an admired and popular DJ from the cobble stone streets of San Francisco, and Azeem, a powerful self proclaimed “wordologist” and champion slam poet/playwrite, team together in their new album “Rise Up” and deliver exactly what the jaded, cynical, and exhausted hip hop heads have been DYING for—a fresh new sound.

With an onslaught of sounds taken from multiple genres (Reggae, Latin music, Electronica, Soul, Jazz, and African flavors), DJ Zeph bombards your ear canal with a flood of beauty and bliss. Whether it be the opening title track, “Rise Up,” an anthem for musical mutiny, the dance hall party sweep of, “Ten Steps Ahead,” that guarantees beads of sweat and wriggling bodies on any dance floor, or the infectious and playful, “Play the Drum,” an entertaining track riddled in a contagious children’s sample from the planet drum, Zeph seems to fuck your headphones from fourteen different directions. Usually when you have one producer and one emcee, the man behind the boards executes a single, recognizable sound that melts together track after track (a la Ant of Brother Ali and Atmosphere fame), but DJ Zeph executes a multitude of noise, assembling a diverse collection of influences into an army of tracks that march and swarm your soundsystem with storms of booming pleasure. Intro to Outro—something special happened.

However, don’t be fooled by my exuberant praise of the sound foundation. Azeem, the man in front of the brilliant production, is a mastermind in his own right. Peep:

“King Cobra in the sed-i-ments of my saliva/Look, I’m staring back, it’s more than a pereformance/ I’m recording tracks but while I rap, I’m reading auras…” 

Azeem boasts a demanding and snake like presence on the microphone. With a voice that commands attention and flow that slithers around a beat like a greased eel performing its best exotic dance ritual—its another component in this unforeseen team that will seize the attention and praise of the hip hop intelligent.

OM Records, the roof over Zeph and Azeem’s head, and a label that is on my “To Watch Out For” lists, has yet again put out a hip hop release that dares its contingent to say “we want something refreshing and new” after a listen. Along with Zion I and The Grouch’s “Heroes In The City of Dope,” Strange Fruit Project’s “The Healing,” and now Zeph and Azeem’s “Rise Up,” OM has proved to be the home of originals and proves to be exactly what the saturated genre has been searching for.

So, stop the whiney complaints about wanting something new, something you have never heard before, something inspirational, something that will make you car’s system explode, because that buried treasure that you thought was counterfeit is laid out on a 15 track canvas that is destined to be dubbed a independent masterpiece.

Thank you Zeph and Azeem—it was definitely needed.

Official Wreck Loose Rating: 3.75 (a must buy)

Check out Zeph and Azeem's "Rise Up" press video here: http://www.youtube.com/watch?v=Vfh2pannc7Y

Hear a song from "Rise Up" in our Hot Tracks section here:

http://hiphopremix.com/index.php?option=com_content&task=view&id=88&Itemid=18