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How “Rapper’s Delight” Helped Solidify Hip Hop

October 19, 2023 by newhiphopnews

In the crucible of the late 1970s Bronx, New York, a subculture was on its way to redefine music. Hip hop, with its roots in block parties and underground clubs, found its breakthrough moment with the 1979 classic “Rapper’s Delight,” a game-changing track by the Sugarhill Gang. Technically a one-hit-wonder in hip hop, the group would defy this reputation. Their song would play a pivotal role in influencing the culture, music, and future generations of artists.

Read More: 50 Beats That Will Never Get Old

“Rapper’s Delight” As A Commercial Success

The success of “Rapper’s Delight” was nothing short of revolutionary. In the late ’70s, disco ruled the airwaves, however, the Sugarhill Gang’s hit would defy trends and enter the top 40 on the Billboard Hot 100. The song would even go on to sell millions of copies, making it a commercial triumph highlighting a shifting musical landscape and a growing appetite for something fresh. With its danceable beat and catchy lyrics, “Rapper’s Delight” transcended the boundaries of musical genres. The Sugarhill Gang’s success would help pave the way for hip hop’s future crossover appeal.

The genre of hip-hop existed mostly as an underground phenomenon before “Rapper’s Delight.” Even though the Sugarhill Gang came from New Jersey, their song would introduce hip-hop to audiences around the world. Suddenly, the rhythmic and poetic stylings of MCs would become a cultural phenomenon that would transcend geographic and cultural boundaries. Artists such as Run-DMC, The Beastie Boys, LL Cool J (and more) would further define what the Sugarhill Gang achieved.

Artistic Showcase & Long Length

I said-a hip, hop, the hippie, the hippie
To the hip hip hop-a you don’t stop the rock
It to the bang-bang boogie, say up jump the boogie
To the rhythm of the boogie, the beat

This small excerpt from “Rapper’s Delight” represents some of the most well-known lyrics in hip-hop. Such simple and catchy wordplay would inspire future rappers to develop more complex rhyme schemes heard in contemporary hip-hop. A defining feature of “Rapper’s Delight” is its extended rap verses, clocking in at over 14 minutes, as well as no main hook. This departure from conventional song structure provided a platform for MCs to showcase their lyrical abilities and rhythmic mastery. Groups like Wu-Tang Clan would continue this tradition with songs like “Protect Ya Neck” and “Triumph.” Although not necessarily 14 minutes, these records show the demand for compositions that challenge preconceived notions about any limitations of the genre.

“Rapper’s Delight” Influences Sampling & Production

Hip-hop uses sampling to weave together musical elements from various genres that form the instrumental. Marley Marl, Kool Herc, Grandmaster Flash, Afrika Bambaataa, as well as the Sugarhill Gang, helped make sampling become mainstream. The art of sampling is now a hallmark of hip-hop production and is used by producers such as RZA, Kanye West, and Dr. Dre. These producers would take sampling to a whole new level by including intertwining multiple samples in each song. Dre’s “California Love” is a good example. It includes samples of Joe Cocker’s “Woman To Woman,” Kleeer’s “Intimate Connection,” and Ronnie Hudson’s “West Coast Poplock.”

The hit “Rapper’s Delight” is also in samples and remixes in dozens of songs, too. MCs like the Beastie Boys used the beat in their song “Triple Double,” 50 Cent did a sort of remix with “Gangsta’s Delight,” and Father MC and Jodeci used the sample in “Everything’s Gonna Be Alright.” These are just a few examples as hundreds more exist.

Cultural Impact

Beyond its musical influence, the success of “Rapper’s Delight” would have a profound cultural impact. The song would contribute to the rise of hip-hop as a powerful force in music, fashion, and art. People of every age and background would try to embody the dance moves that went along with the song. A notable rendition of the song is included in the ’90s hit movie The Wedding Singer, which features iconic music of the ’80s. The Sugarhill gang’s hit would also become a voice for marginalized communities and spark a creative revolution. “Rapper’s Delight” is an anthem for a generation pivotal in changing the culture.

Decades after its release, the legacy of “Rapper’s Delight” endures. The song continues to inspire new generations of artists, serving as a foundational text in the hip-hop canon. Its impact is global in terms of popularity in hip-hop today. The Sugarhill Gang’s only mainstream hit, “Rapper’s Delight” paved the way for artists to pursue careers in hip-hop and became an essential piece in creating musical and cultural diversification.

The post How “Rapper’s Delight” Helped Solidify Hip Hop appeared first on HotNewHipHop.

What Type of Dogs Are We Talking About in Drake’s Latest Album?

October 19, 2023 by newhiphopnews

When you’re the biggest artist in the world, aka Drake, it’s a huge deal anytime you drop music. Not only are you one of the biggest streaming artists in the world, but your fanbase is accustomed to timeless hits — which means the bar is set high. But For All The Dogs is less about the homies and either about dog men or Drake’s new favorite word for women he comes across.

For All The Dogs serves as Drake’s eighth studio album. The hype escalated when Drizzy pushed the release date back a few weeks, from September 22nd to October 6th. Not to mention the 6 God promised fans he’d be returning to the “old Drake,” which we’re having difficulty pinpointing exactly where. This album feels like Drake has hit a level of either stagnation due to immediate success by whatever he drops, or there is no more challengers in the arena to force him to find an internal fire.

With the standout features on the project — 21 Savage, J. Cole, Yeat, SZA, PartyNextDoor, Chief Keef, Bad Bunny, Sexyy Red, and Lil Yachty — FATD should be a sure contender for success. But after the first few spins… you’re wondering where the substance is. When you’re Drake, you can have whatever you want at your fingertips. But Drake’s ascent to the top of the rap game used to inspire, motivate, and empower others to go out there and get after their wildest dreams.

For All The Dogs is certainly not that. The opening song, “Virginia Beach,” seems to be yet another emo Drake serenading his woes about a past relationship. Let’s be real: Drake can get any woman he wants, and his bars about drugs are getting played out.

Of course, we all love the camaraderie between Drake and 21 Savage. Case in point: “Rich Flex,” “Jimmy Cooks,” “Mr. Right Now” by Metro Boomin. But the skit at the end of “Calling For You” was particularly off-putting. A girl complaining about sitting in the economy instead of first class. NEXT!

By now, you have seen the calls against misogyny across the album, and it’s within reason. The toxic masculinity throughout For All The Dogs laps Future on his most sick days. Ironically, “What Would Pluto Do” is a prime example where Drake evokes the spirit of his What A Time To Be Alive friend, but it’s cringe as he attempts to tell the story of popping some Cialis in the drink of his lady for the night. In case you got lost in the single, the bars are pulled below:

Wigglin’ back into my old ways, ayy
Bunch of sedatives, hypnotics in my system, okay
Life is goin’ just how I predicted, okay
Droppin’ two Cialis in her liquid, okay

– Drake “What Would Pluto Do”

If that isn’t cringing enough, the countless runs of calling women a “bitch” throughout the album echo an inner issue that may need to be addressed.

That was song #3, which means there are 20 more tracks to go. One look at the tracklist, and you might be excited for that Sexyy Red and SZA feature on “Rich Baby Daddy.” Even this record was tough to get through. There’s only so many times you can hear the words “ass” and “coochie,” and Drake rapping about being rich isn’t impressive.

Not to mention the lead single to the project, “Slime You Out” with SZA, could have been a beautiful record — had it only been SZA’s vocals. There’s also an interlude called “BBL Love.” We’d appreciate something a little more meaningful for an artist with Drake’s platform. Even if it was “for all the dogs,” can we bring back a certain level of classiness and respect?

And when all is fails, we lean on one of Hip-Hop’s greats: J. Cole. “First Person Shooter” might be the best song of the project. J. Cole rapped his ass off… only for Drake to come in after him to weep about girls.

The post What Type of Dogs Are We Talking About in Drake’s Latest Album? first appeared on The Source.

The post What Type of Dogs Are We Talking About in Drake’s Latest Album? appeared first on The Source.

Drake’s “For All The Dogs” Is His Worst Album, Or Least That’s What Metacritic Says

October 11, 2023 by newhiphopnews

Drake has just released his new album For All The Dogs, and as you can imagine, the album is a bit polarizing. Overall, every album from a big artist is going to be scrutinized. After all, people want the best from their favorite artists. When Kendrick Lamar took a five-year hiatus, many felt disappointed by Mr. Morale. However, a lot of those sentiments have slowly faded, and fans see that album as yet another classic in Lamar’s discography. As for the Canadian megastar, however, the reception has been much harsher.

Throughout the last few days, people like Joe Budden have come out to criticize the project. Moreover, many reviewers have been taking to their respective platforms to give their opinion. So far, most of these reviews have been negative, or simply indifferent. It has been a trend with Drake’s last few projects. However, as far as For All The Dogs is concerned, it is more pronounced than ever. When you look at the aggregate scores for this project, it seems like this is the worst critical reception of his career.

Drake Has Critics Unimpressed

LAS VEGAS, NV – SEPTEMBER 23: Recording artist Drake performs onstage at the 2016 iHeartRadio Music Festival at T-Mobile Arena on September 23, 2016 in Las Vegas, Nevada. (Photo by Kevin Winter/Getty Images)

If you go on Metacritic right now and look up the album, you will see a reviewer aggregate score of 52/100. Overall, this is the lowest score he has ever gotten. Previously, his lowest score was on Certified Lover Boy which was ranked 60 out of 100. His best-ranked album on the platform is actually So Far Gone which has a rating of 81/100. It remains to be seen if the artist will ever get back to “critical darling” status.

Let us know what you thought of For All The Dogs, in the comments section down below. Additionally, stay tuned to HNHH for more news and updates from around the music world. We will always be sure to keep you informed on all of your favorite artists.

[Via]

The post Drake’s “For All The Dogs” Is His Worst Album, Or Least That’s What Metacritic Says appeared first on HotNewHipHop.

K. Michelle “I’m The Problem” Album Review

September 26, 2023 by newhiphopnews

K Michelle’s presence has been undeniable in the R&B scene for the past decade, delivering six albums that showcase her unique vocals, raw emotions, and unfiltered authenticity. In her final R&B album, I’m The Problem, she explores love, pain, and self-discovery through 19 soulful songs.

The album begins with a spoken word piece titled, “Intro: Lots of Nothing, Pt.1,” which sets the tone for the rest of the album. K Michelle declares that she is the problem in her relationships, hence the album’s title, and that she is ready to face her demons and partake in the healing process from past wounds. She then takes listeners on a musical journey that spans different genres, and moods.

I’m The Problem Highlights

With the diversity present in I’m The Problem, we could touch on each track and explore the depths of artistry displayed, but instead, we will touch on some highlights. One of the tracks, “Blame Yourself,” is a fiery anthem that calls out the “Scooch” singer‘s ex-lover for his betrayal. She belts with conviction and sass over a hard-hitting beat, delivering lyrics like, “You can’t blame me for your problems / You can’t blame me for your karma / You can’t blame me for your drama / You can only blame yourself.” The song was released as the third single from the album, along with a cinematic video that features K. Michelle as a femme fatale.

Another highlight from the album is the song “This Man,” which is a heartbreaking ballad showcasing K. Michelle’s vast vocal range and authentic vulnerability. The lyricist sings about a man who left her for another woman and how she still struggles to move on. She pours her emotions over a simple piano accompaniment, making the song feel intimate and personal. She sings, “This man / He broke me down / He took my crown / He made me feel like I was nothing / This man / He made me cry / He made me lie / He made me wish I never loved him.

K. Michelle Pays Homage To Home

Another favorite on the album is its closer, “Tennessee,” a country-inspired track that is a complete contrast to the rest of the album, making it so unique. The song is a tribute to her roots and family, as she grew up in Memphis, Tennessee. K. Michelle sings about finding her peace and inner happiness in her home state, singing, “Tennessee / You’re the only place I wanna be / You’re the only place that feels like home to me / Tennessee / You’re the only place that makes me smile / You’re the only place that’s worth the while.”

In I’m The Problem, K. Michelle is saying farewell to her R&B career and going out with a bang. The diversity and cohesiveness of the album showcase her growth as both an artist and a woman. The album fully reflects her personality, her struggles, and her triumphs. She proves that she is not afraid to be herself, even if that means being the problem sometimes.

The post K. Michelle “I’m The Problem” Album Review appeared first on HotNewHipHop.

Earl Sweatshirt & The Alchemist “VOIR DIRE” Review

August 31, 2023 by newhiphopnews

In August of this year, the same month that he released this new album with The Alchemist, Earl Sweatshirt celebrated the ten-year anniversary of his studio debut Doris with a series of live shows, one of which hosted a reunion of the collective that propelled him into fame: Odd Future. In that time span, his talent and honesty propelled him further into peace. The meet-up was a wholesome, fulfilling, and nostalgic moment for fans, despite the wildly different directions those careers went in individually. For Earl, that path unraveled his personal growth and grievances, exploring his highs and lows in the search for the truth behind his story. On VOIR DIRE, he seems closer to that goal than he’s ever been on wax, without compromising what makes him and the legendary producer such idiosyncratic and captivating figures in hip-hop.

Moreover, this new 11-track and near-28-minute-long LP was released under unconventional methods and with mysterious origins. For those unaware, it followed years of teases of a full collab project that was apparently on YouTube under a different name, according to The Alchemist. When a joint effort between him and Earl Sweatshirt finally dropped, it was on the NFT-centered site Gaia Music (where you can stream VOIR DIRE for free), with each track available for purchase with its artwork and yielding advertised rewards like T-shirts, FaceTime calls, and a smoke session. Needless to say, it’s a cryptic record in the streaming age: free, yet on the blockchain, and taking a bit more effort to tune in from fans. Nevertheless, it might be the most consistent, cohesive, and no-frills album that either has dropped in years.

Earl Sweatshirt’s Lyrical Excellence & Chemistry With The Alchemist

BARCELONA, SPAIN – JUNE 03: Rapper Earl Sweatshirt performs on stage during Primavera Sound 2022 on June 03, 2022 in Barcelona, Spain. (Photo by Jim Bennett/WireImage/Getty Images)

To achieve this, the Chicago-born and Santa Monica-raised MC and Uncle Al complement each other’s styles seamlessly. The latter’s cavernous, tight, dense, and always gorgeous sample flips are caves and pockets that the former explores meanderingly, but with conviction and an avalanche of exciting and dynamic flows. Earl Sweatshirt is one of the most expressive, emotionally impactful, and downright skillful lyricists today, and The Alchemist has been an excellent partner (and also leader) for his tales. Both shift between moods on VOIR DIRE, though, pushing each other to new corners. Al can be dramatic, soft, funky, grimy, or melancholic; Earl comes off as confident, downtrodden, nihilistic, triumphant, reflective, and wholly present in the moment, all at once.

On that last note, recalling every amazing bar on here without running VOIR DIRE from front to back is impossible. Whether it’s his sharp wordplay and references, his stark imagery, or his gut-wrenching phrasing, the 29-year-old comes off as wise beyond lifetimes. Tracks like “Geb” and “Mac Deuce” attest to his unmatched abilities in the game. But for every high, there’s a pained and brutally sincere examination of the journey there, like “Vin Skully” or “Dead Zone.” Also, newer topics in his discography emerge, like being a father on “27 Braids” (“She said I got a son on the way, made my bed so that’s where I’ma lay”) or somber reflections on violence in rap that took his collaborator and fellow Cali MC Drakeo The Ruler on “Free The Ruler” (“Streetcar called pride droppin’ n***as off in the morgue… It’s not normal, but I swear this s**t is regular”).

VOIR DIRE‘s Sonic Palettes & Structures

LONDON, ENGLAND – MAY 31: The Alchemist performs during NBA Leather Tour at O2 Academy Brixton on May 31, 2022 in London, England. (Photo by Burak Cingi/Redferns/Getty Images)

In order to condense these expressions in sonic form, The Alchemist makes the most out of what seems like a little. Sample loops evolve once Earl Sweatshirt’s verses end, the instrumentals fade in and out with new minimal details, and spoken word passages add to VOIR DIRE’s truth and story-driven themes. What often happens on this album is that a tear-jerking instrumental will contrast with boastful or hopeful lines, and vice versa. As such, they end up creating a nuanced and complex emotional image with each track, which makes itself more unique among the cast with each listen. Some highlights include the shimmering keys on “All The Small Things,” the infectious guitar lick on “Vin Skully” (one of many), the shrill and lo-fi strings on “100 High Street,” and the breezy woodwind melodies on- you guessed it, “My Brother, The Wind.”

Of course, the Tan Cressida rapper is no stranger to beats like these, especially from Uncle Al. For a while now, Earl Sweatshirt has been a master at the short but punch-packing one-verse hip-hop song formula, sometimes with a chorus. There’s as much emotion in the lyrics as there is in a given song’s sound. For example, “My Brother, The Wind” hits you with self-aware, regretful, but optimistic assessments like, “Etch-A-Sketch what I live, shiverin’, erasin’ what I did, opaque, be complacent as the wind.” In addition, there are the reflections on diamonds in the rough on “All The Small Things”: “New s**t consumed quick, it’s perishable, embed it with gold and it’s gon’ never get old.”

What’s New On This Album And What Doesn’t Work?

Still, there are plenty of left hooks, impressive innovations, and unearthed previous tendencies on VOIR DIRE, as familiar as this aesthetic territory is for both artists. One shining example is the shifting and malleable flows and rhythmic accents on “Sentry.” While Earl Sweatshirt gives the track a 4/4 feel, MIKE’s gripping feature verse brings the track to a 3/4 swing that can completely change how you conceptualize the song as you listen. It’s a small detail, but with an album at this level of craft, it’s those minute concoctions that make it so engaging. Another standout surprise is “Sirius Blac,” whose easy-going beat mixes its glittering joy with a chorus, verse, and delivery reminiscent of early Odd Future anthems that could’ve popped up on Doris, something Earl hasn’t fully tapped into in a long time.

However, that familiarity is what might land as lukewarm for fans who tune into VOIR DIRE. Earl and Al are simply doing what they do best, and what they’ve already condensed into masterworks. With that in mind, this album isn’t a revolution for either musician at first glance. It’s definitely a niche-scratching effort, but it yields some of the best material either has ever put out because of its simplicity, concise nature and for being probably the most tender thing either of them has ever released. Finally, if you complained about this NFT concept, the only true crime of two rap legends getting their bag through a free album and a new avenue that brings fans closer than streaming services ever could is that the web player on Gaia is glitchy, and that’s a fortunate thing to name as the project’s greatest flaw.

Earl & Uncle Al’s Best In Years

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A post shared by Alchemist (@alanthechemist)

Overall, this long-awaited collab album is everything fans ask from this duo. Despite its brevity, it packs addictive instrumentals, so many rewind-warranting lyrics, and seemingly every theme under the sun into a powerfully all-killer and honest project. Family, genealogy, ego, regret, death, constancy, uncertainty, hope, perseverance, and much more fall under Earl’s magnifying glass, and the lens this time is much more calm, measured, accountable, and accepting of his path forward from past mistakes and struggles. It might not tread completely new ground, but it sums up the abstract lyricist’s past work with a beatsmith who’s been there for him every step of the way: I Don’t Like S**t‘s hunger and darkness, SRS‘ dejected solitude, mixed with Alfredo’s sheen and Return of the Mac’s hope. They champion their humanity, and through the specific vividness of their emotions, they create something universal, potent, and comforting.

Akin to the legal term behind its namesake, which determines a witness or juror’s ability to tell the truth, VOIR DIRE hammers on the veracity and authenticity behind each creative’s artistry. Like the spoken word passage on the closing track states, their mission is to make listeners understand them as individuals, for which The Alchemist provides some of his most crisp and heartfelt instrumentals in years that define his undefinable style. The result is a highly compelling exercise in providing context and clarity to Earl’s whole career: his demons, dreams, dominance, and determination — things he’s tackled since before Odd Future welcomed him. Thebe Neruda Kgositsile’s endured a lot, with his art updating his unfiltered perspective as the world’s student. Rather than dwelling on peaks and valleys, it feels like Earl’s finally found balance in his growth, and is grateful for the ride.

The post Earl Sweatshirt & The Alchemist “VOIR DIRE” Review appeared first on HotNewHipHop.

Lil Baby’s Restaurant Responds To Terrible Review

August 4, 2023 by newhiphopnews

Last month, Atlanta-born rapper Lil Baby opened his own seafood restaurant in his hometown. The opening ceremony for the restaurant, The Seafood Menu Restaurant and Takeout, seemingly went off without a hitch. The event brought in a huge crowd of fans who were eager to taste what Lil Baby had to offer. At the time, it was also reported that Lil Baby plans to expand the venture, creating a franchise. He even wants to bottle up some of the restaurant’s signature sauces, so that fans can purchase them at their local grocery stores.

One self-proclaimed seafood lover, however, seems to have had a pretty disappointing experience with the restaurant. She posted a video review of the food, which later went viral. In the video, she shows what she received, claiming to have gotten shorted on her meal. Apparently, the restaurant only gave her four shrimp when she paid for six. She also showed a photo of a piece of fish that appeared to be cut in half, which she claims the restaurant tried to hide with a different piece of fish.

Lil Baby’s Restaurant Claps Back

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As expected, the review raised some eyebrows, as many fans were looking forward to trying the restaurant. The Seafood Menu has now responded to the review, however, emphasizing their commitment to “enhancing [their] services.” “Seafood Menu greatly appreciates all feedback, regardless of its nature, as it contributes to the continuous improvement of our customer service,” they wrote. “We recently became aware of a video circulating on social media, which appears to depict a to-go order from our opening day.”

“However, we are unable to verify the timing of the video in relation to the food order,” the response continued. “It’s worth noting that our opening day saw an impressive turnout of over 2,000 patrons, with nearly 99% of reviews being positive. While we regret not having the chance to directly address this concern, we remain dedicated to enhancing our services and serving our underserved community to the best of our ability.”

[Via]

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50 Cent Celebrates His Legacy With An Outstanding Hip-Hop Spectacle On “The Final Lap” Tour

August 4, 2023 by newhiphopnews

In 2003, 50 Cent emerged as a tyrant in hip–hop with the release of Get Rich Or Die Tryin’. Already established as a rebel in his own right, the industry blacklisted him prior to its release. A deal with Columbia Records fell through. Meanwhile, songs like “How To Rob” and “Ghetto Quran” established 50 Cent as a forceful MC that wouldn’t hold his sharp tongue against heavyweights. Although his career hit a brick wall, his resilience and hunger caught the attention of Dr. Dre and Eminem. And maybe without those two, we wouldn’t be celebrating one of the greatest hip-hop albums 20 years later.

The Final Lap tour appears to be 50 Cent’s final full-fledged trek on the road. The past decade hasn’t seen him releasing much music but his television empire has grown exponentially. Marking the 20th anniversary of Get Rich Or Die Tryin’ and coinciding with the 50th anniversary of hip-hop, The Final Lap tour has been nothing short of a spectacle; a time capsule that revisits 20 years of heat, from defining singles found on his chart-topping debut and sophomore releases to deep cuts that only his day-one fans can appreciate. With opening acts Pressa, Jeremih, and Busta Rhymes, 50 Cent celebrates his own contributions to the culture.

The opening acts all hold a place in 50 Cent’s heart to some capacity. The connection to Pressa seems to have developed more recently. Pressa’s appearance on stage, alongside WhyG and Bundog, suggests that 50 Cent’s cooking up something in the 6ix. Tony Yayo hasn’t shied away from expressing his appreciation for BunDog and Pressa in recent times, either. However, it strongly indicates that 50 Cent and Tony Yayo have taken the budding Toronto star under his wing. It’s an impeccable feat for Pressa, who has the bragging rights of touring with 50 Cent and Drake.

Read More: 50 Cent: The Media Mogul

Jeremih’s Return

50 Cent final lap — (Photo by Scott Dudelson/Getty Images)

There might not be another R&B artist whose influence is as understated as Jeremih. The Chicago-born’s catalog speaks for itself but in the past few years, his presence hasn’t been as consistent. A serious and highly publicized bout with COVID-19 left him re-learning how to walk. Three years later, he made his triumphant comeback to the stage. His set brought fans through a decade-plus-worth of hits that sent a wave of nostalgia through the crowd.

Backed by a DJ and two scantily-dressed pole dancers, Jeremih’s strain of futuristic stripper-friendly R&B anthems received its proper visual accompaniment. Jeremih’s sheer presence took command of the Bell Centre. Through each song, the crowd’s enthusiasm grew, eventually building up to songs like “Oui,” “Planez,” and of course, “Birthday Sex.” After not being on the road for a few years, Jeremih’s catalog shines from night to night. He’s opening up in front of an audience of hardcore hip-hop fans. Even so, his sultry and airy vocals take control of the room.

Busta Rhymes & Spliff Starr Set The Stage Ablaze

With a career spanning 30 years, Busta Rhymes’ is the definition of a timeless act. When he accepted his Lifetime Achievement Award at the 2023 BET Awards, he admitted that he never had a desire to be a solo artist while a member of Leaders Of The New School. It’s ironic, considering that his star power shone brighter than any one of his group mates. Busta Rhymes and Spliff Starr’s live performance remains one of hip-hop’s greatest acts by a landslide. Without gimmicks, the strength of Busta’s hits, bolstered by his chemistry and synchronicity with Spliff Starr, make for a dynamic performance. Busta said it best: “We don’t need no special effects. We are the special effects.”

Busta’s dramatic intro kicks off with a WWE-like monologue, courtesy of Spliff Starr. Busta’s throne rotates as he joins his hypeman with high energy with M.O.P.’s “Ante Up (Remix).” The coordination between the two boils down to the details, with choreographed moves executed throughout the set.

Busta Rhymes’ grip on the rap game from the late 90s to the 2000s was on full display. He went through classics like the funky, “Put Your Hands Where My Eyes Can See.” Later, he’d demand the women serenade him with Mariah Carey’s hook on the uber-sensual, “I Know What You Want.” Of course, it wouldn’t be a Busta show without performing “Break Your Neck.”

Although the last bit of his set felt abrupt, it became more personal. Busta and Spliff Starr would dive into records, some unreleased, before cutting them off before the hook came in. For example, Busta began performing “Touch It” and cut off the record before reaching the hook. The reason? He’s afforded that right through his 30+ year tenure in hip-hop.

Still, it’s quite clear that one of Busta’s most mesmerizing moments as an MC only occurred within the past 12 years. He still raps his verse on Chris Brown’s “Look At Me” without skipping a beat. It’s truly a testament to a man who has mastered his craft. At 51 years old, Busta Rhymes’s breath control is giving every MC in the game a run for their money. Before Busta left the stage, he had already shown us exactly why he’s feared in the Verzuz space.

50 Cent Revisits His Heyday

50 Cent’s assumed the role of an elder statesman in hip-hop these days. His proximity to the music industry has largely consisted of the mentorship he provides to the younger generation. However, 50 Cent’s The Final Lap tour almost feels like a bid farewell for a titan in the rap industry. Joined by Tony Yayo and Uncle Murda as his faithful hypemen, 50 Cent implemented the precise choreography of a pop artist to bring fans through a journey of his greatest hits.

The elaborate stage setup included an extended platform that split the floor seats. Behind him were screens plastered from the top to the bottom of the stage. Joined by a DJ and a full band, who performed from an elevated platform, as well as a whole dance squad, 50 Cent created a Vegas-like atmosphere, where the lights, confetti, and pyrotechnics amplified the nostalgia of his unmatched run in the early 2000s. The screens behind them amplified the feeling of the East Coast as animated replicas of New York brownstone buildings and the city skyline displayed through records like “I Get Money” and “Hustler’s Ambition”

Although a celebration of the 20-year anniversary of his debut album, 50 Cent proved that his career didn’t necessarily phase out following his sales battle with Kanye West when Curtis dropped. He went across anthems on GRODT, The Massacre, Curtis, and even a few records from the past few years, whether “I’m The Man” or “The Woo,” where he pays homage to his late prodigy, Pop Smoke.

While Fif managed to get through his vast catalog within the first half of the show, he eventually welcomed Jeremih back out on stage where they performed “Down On Me” together and then, allowed the Chicago singer to deliver a gorgeous stripped-down version of “Birthday Sex” on the piano. Afterward, Fif returned to the fold to close out the show, leading up to the extravaganza that accompanied “In Da Club.” But for his encore, 50 Cent dived into the back catalog with anthems like “Wanksta,” “Southside,” and “Poor Lil’ Rich” before finally closing out with, “I’ll Whip Ya Head Boy.”

Final Thoughts

In 2005, a Liberal Member of the Canadian Parliament petitioned to have 50 Cent banned from performing in Canada as a result of his lyrical content, largely the references to guns. Nearly 20 years later, 50 Cent’s The Final Lap tour yields far different results, providing fans with a healthy dose of nostalgia to revisit the early 2000s. No less of a gangster than he was when he came in the door, 50 Cent’s ascended to another stratosphere of pop culture. Similarly, his audience has also evolved and matured within the same time frame. The Final Lap tour isn’t necessarily marketed as a 50th Anniversary Of Hip-Hop event but it certainly emphasizes the contributions of two East Coast legends with the support of one of R&B’s finest talents.

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Bia “Really Her” EP Review

August 3, 2023 by newhiphopnews

BIA is thriving in the current landscape of hip hop, where many women are dominating the space. She has carved out her own lane and is now incredibly successful. Hailing from Medford, Massachusetts, BIA started her career on the reality TV series Sisterhood of Hip Hop before signing to Pharrell’s label. Her first prominent feature on a song was alongside her label boss and J Balvin for the hit single “Safari” back in 2016. BIA has since increased her visibility, collaborating with her contemporaries and legends alike. She has worked with Russ for the Platinum-selling “Best on Earth” and reached mainstream success with “Whole Lotta Money” featuring Nicki Minaj on the remix. As she continues to ascend to greater heights in her career, BIA is capitalizing on her momentum with her latest EP, Really Her.

Further, BIA has established her sound in recent years. Her most successful songs utilize her signature nonchalant flow over a simple 808 pattern. Really Her sees BIA showcasing her versatility in a new way, utilizing a unique delivery over various beats and tempos.

She Showcases Her Versatility

Over some bass-heavy production, BIA starts the project strong on “Big Business,” rapping about leveling up in her career. Setting the tone, the project gets even better. BIA sounds tough yet composed on “Millions” and is playful on “Don’t Tell.” These songs fit within her sonic wheelhouse, but she keeps things more traditional on “Four Seasons.” In that song, she spits over a simple loop with a straightforward delivery. Arguably her best lyrical performance on the EP, BIA flexes her lyrical muscles, spitting clever bars like, “Athletes in my DM, wish they baby mama see ’em / That’s the type of money I pay in per diem.” BIA’s voice is more commanding on “Four Seasons” than on other songs. She displays a range that encompasses club-ready bangers and skillful tracks without hooks.

BIA’s voice and flow complement a variety of tempos on Really Her, but she makes an awkward attempt at a dancehall record on “Oh No.” Unfortunately, her flow just does not mesh well with that tempo, which is surprising considering how good she has sounded over similar beats before. The attempt is commendable but ultimately falls flat. There is also the song “I’m That B*tch,” which boldly flips Missy Elliott’s “She’s a B*tch.” With the help of Timbaland, BIA puts a drill spin on the ‘90s classic, floating over the production. She may sound good, but the song does not do its sample justice. Still, the homage to Missy Elliott’s song assisted by its original producer is respectable.

BIA Polishes Her Skills

BIA found her voice on 2020’s For Certain, which she has since continued to develop on her latest releases and guest features. Her rap style may be simplistic, but she shows she can hold her own with the best on “London” with J. Cole. Easily the best song on the EP, the previously-released single sees BIA at her best. She delivers tough bars with her signature flow while also being playful with the ad-libs. The knocking instrumental is menacing but not too overpowering, allowing BIA to step her game up. Weaving in references to London, she flexes, “Chrome Hearts socks in sandals / Mans outside in Crocs in shambles.”

What really encourages her to bring her best bars to the song is J. Cole’s jaw-dropping verse, which dazzles with clever punchlines and impressive rhyme schemes. He sticks to the concept, crafting witty bars with British slang. He raps, “Yummy, they got no more bread, they’re crummy.” Cole also seamlessly transitions into a British accent, twisting words ever so slightly so that it creates a double entendre. While J. Cole steals the show, his style contrasts significantly with BIA’s, making a well-balanced song. “London” is a prime example of how BIA polished her skills on Really Her.

Conclusion

Really Her is some of BIA’s most exciting material yet. Her latest EP is a step in the right direction compared to her previous works. This collection of songs may not be the most inventive, but the tracklist is varied, and she shines over the beats. Songs like “Millions,” “For Seasons,” and “London” include some of the best rapping from BIA yet. Overall, Really Her is an admirable effort from one of the most exciting stars to rise from Massachusetts. The EP’s short run-time adds replay value, with most songs barely exceeding the two-minute mark. BIA hones in on her style while trying others. She showcases her versatility and develops her skills, exciting listeners as she readies her proper debut album.

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The Alchemist “Flying High” EP Review

July 3, 2023 by newhiphopnews

Flying High is the latest project from super-producer The Alchemist. He’s been quite busy recently but he’s truly always working. He released a collab project with Larry June titled The Great Escape and did a song with Hit-Boy in March. Last year he did collab projects with Curren$y and Roc Marciano. He also produced “We Cry Together,” the most polarizing song from Kendrick Lamar’s most recent album. He’s also worked multiple times with Griselda, Freddie Gibbs, Action Bronson, and many more.

Listeners of underground rap music are well acquainted with The Alchemist and this project is a sampler of sorts of his work in that realm. It’s eight songs, with the last four tracks being instrumental versions of the first four. Featured artists on the project include Earl Sweatshirt, Boldy James, billy woods, Larry June and more.

The Alchemist Crafts Unique & Eeerie Soundscapes

The Alchemist’s Flying High showcases a glimpse of the various production styles he has in his bag. The opener, “RIP Tracy,” is unique on every front. Earl Sweatshirt’s trademark monotone slides like syrup over the production. Lines like, “Same time I’m out here tryna change and stay solid / Take care, Bruce Lee say to be water,” blend accessible punchlines with semi-niche references. Billy Woods (stylized “billy woods”) has a stream-of-consciousness flow that takes these qualities to the next level while adding more character to his delivery. “Trouble Man” shifts the tone. T.F and Boldy James tell street tales over an eerie horn and bass loop with no drums – a common practice in underground rap today. Boldy James drops bars that combine modern and classic references with lines like, “Trappin outta state in Louis V Supreme / Slappin’ all this base, I show you why they call me B.B. King.”

The Alchemist Brings Luxury & Soul

“Bless” is easily the most elegant-sounding song on the project. A dreamy piano sample is paired with an equally smooth guitar loop. Underground artists MIKE and Sideshow share stories of personal feelings and reflection which pairs well with the production. Closer “Midnight Oil” is truly a standout track because it features a verse from The Alchemist himself. This is his third verse this year, which has been a treat for those only familiar with his production. This one features Larry June and Jay Worthy on this one. Like the other two artists, Alc’s verse combines luxury and aggression over a soulful loop. He raps, “I clutch a pump / Dump it and jump a country / Might be in Paris speaking bluntly” with ease.

The Alchemist Lets His Music Speak For Him

Flying High by The Alchemist offers production lovers a treat: instrumentals. This has become more common these days as it was the standard for past generations. The Alchemist has been around since the late ’90s and has seen this return in real time. With the instrumentals on this project, listeners can focus on just how creative The Alchemist was with his sample usage. Those who play instruments can try replicating the loops he uses on the project.

The Alchemist’s Flying High is a project with several purposes. These songs are likely leftover from his sessions with the featured artists based on their length and a few lyrics. This doesn’t mean their quality is low; it makes them stand out. The Alchemist has given listeners a peak at his ever-expanding hard drive of music.

This project also is a good teaser for anyone curious about what’s happening in the world of underground rap right now. The Alchemist has been integral in shaping the myriad of soundscapes today. Every underground artist is not represented on this project, but considering who The Alchemist has worked with most people in that lane, going to his Spotify page is a good place to start. Flying High is just an appetizer for the seven-course (and beyond) meal that is his discography.

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Anthony Fantano Hits Gunna With A 1 Out Of 10

June 21, 2023 by newhiphopnews

Gunna came through with his comeback album on Friday, titled A Gift & A Curse. Overall, a lot of fans are loving this new project. Although many swore off Gunna due to snitching allegations, there are still those who are curious about what he has to say. For the most part, the artist did a solid job of addressing all of the claims. Moreover, he gave a project filled with steady flows and catchy beats. One can just look at the song “fukumean” to understand exactly what we mean.

Unfortunately for Gunna, not everyone is feeling this brand-new album. Perhaps the biggest critic of this project so far has been none other than Anthony Fantano. Fantano has always seemingly had it out for Gunna and artists like him, such as Lil Baby. The last time Wunna dropped a project, it received a “NOT GOOD.” This is a score reserved for projects that Fantano already had low expectations for. Needless to say, fans expected this latest project to get an unfavorable review.

Gunna Gets An Unfavorable Review

Well, that is exactly what happened. The famous critic was wearing a red flannel in the video, which was indicative of a bad score. Typically, he wears a yellow flannel when the album scores an eight or above. The red is brought out for scores of 3 and below. Upon watching the video, you will come to find out that he gave Gunna a measly 1 out of 10. Overall, this is actually a step up from the “NOT GOOD” he received last year.

For the most part, Fantano didn’t care for the production, the flows, the songwriting, or the lyrics. It is pretty clear that he is not a fan of Gunna’s sound whatsoever, and the score reflected that. Since dropping this review, Fantano has been inundated with hate and has been heavily criticized for his scoring of modern trap music. Let us know what you think of the review, down below. Additionally, stay tuned to HNHH for more news from around the music world.

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