Soundtrack To A Summer Fling

http://tinyurl.com/2k53x4

Enjoy and leave comments

(Track 8 made this the perfect cover)

Soundtrack To A Summer Fling - Liner Notes

For anyone who has ever heard or received a mix from me, a secret is I get my inspiration from autobiographical experience. Whatever I’m going through at the time, I try to organize and sequence a bunch of (good) songs around the topic. I do it to put people on to new music they haven’t heard and take them back to a good feeling when they heard older classics. For everyone who asks when something new is coming, if there’s nothing going on with me wont have a CD to make.

So far it’s gone like this (the better ones)

A Love Story (summer ’05) – detailing the rise and fall of my relationship at the time

I’m A Get A Bitch Number Tonight (fall ‘05) – Me getting back on the scene hollering at women

The Coldest Winter Ever (winter ‘06) – I got royally shitted on and heartbroken as soon as I tried to rebound.

All Praises Due (fall ‘06) – At a point where I felt the need to improve my ongoing relationship with the creator.


Soundtrack To A Summer Fling was made at a point where me and someone new just started digging each other a little while back. I went for two themes here, feel good music and exploring the (not so) innocence of getting to know someone for what may be a temporary thing. If you pay close attention there’s a beginning, a middle where things heat up and an ending.

How It All Came To Be: Really Blu & Exile’s “No Greater Love” is responsible for this project. I was shaken to the core by how ill the album Below The Heavens was at the same time I started interacting with the inspiration for the project. From there I scraped my my memory banks for songs that fit the mood, and came upon the PERFECT cover (you’ll understand in a minute) and solicited drops. One or two songs kind of lean more towards the female side, but it’s mostly good music that anyone with soul can dig.

Trial and Error: I scrapped a few songs - Che Grand’s “Trainspotting” was originally the opening song after the intro from its producer. “All My Time” by Paid & Live featuring Lauryn Hill was replaced by Count Bass D’s “False or True” which is way more flavorful. Little Brother’s “Nobody But You” was on the original draft, but that was a little more serious than what I was going for.


In sum: I’m not a “DJ”, don’t expect any incredible blends or scratching here but I think the songs flow well into each other if you play this without the annoying 2 second delays between tracks. I hope your summer is filled with love (you don’t have to be in love to have love for someone), fun and peaceful times with your newfound prospect or already existing significant other.

Move over, Doug E. Fresh



Cameron Giles is officially the world's greatest entertainer

How the mighty have fallen



i cant cop his album now

Edan and Skillz Ferguson - Fake Live Show

Edan: Cares about this Hip-Hop thing more than you and your favorite MC could ever hope to, the embodiment of upper echelon emceeing.

Skillz Ferguson: The other half of the best tag team duo you've probably never bothered to check for.

Witness what happens as they simulate a show for a crowd comprised of vocal sound effects.

www.sendspace.com/file/lo0i3m

Can it be that it was all so simple then?



Camron might be getting kicked out of Dipset today, this commemorates one of their greatest moments captured on film.

Sa-Ra – Style over Substance since 2004

For the past few years music enthusiasts have been looking for a reprieve from the mundane songs shoved down our throat by the radio. People have developed a sort of complex, where in looking for the “new” shit they will accept anything as good so long as it’s different. Sure someone has to break ground for any true impact to be made but what if it doesn’t sound like much? In my parents’ heyday there was nothing like Parliament Funkadelic, but at least they seemed to have some kind of a concept of what they were doing. The past few albums Outkast has picked up the reins of going left field and against the grain, but a lot of their music sounds like something.

Around 2004, MP3s began floating around of a demo from this group Sa-Ra (Creative Partners), the “cool” kids jumped right aboard questioning nothing while the sensible of us were like “Wait, these n*ggas just sound weird. This is what all the hype is about?” Then came the accompanying visuals, their dress code said “Look at us dare to take different to a whole new level” and anyone with a normal wardrobe checking for artists whose music stands out more than their clothing was probably thrown for an even bigger loop. Then Kanye West signed them to G.O.O.D Music and the buzz really skyrocketed, with ‘Ye being quoted as saying something to the effect of “I wasn’t gonna miss out on the next shit”. So being the unpaid blogger that I am, I wasn’t going to miss out on the chance to laud or trash their official debut The Hollywood Recordings since they’ve nearly eased their way to mainstream exposure.

1) Seagulls Intro – It’s alright, kind of electronic and non-descript @@@@

2) Hey Love - A Prince fanatic or a trendy chick would probably like this, but it’s not impressive like that - @@@ ½

3) Glorious* – This was the song my trendpals were gushing over 2 ½ years ago. I wasn’t impressed then and I’m still not. It actually sounds like a joint DJ Spinna did called “Intergalactic” if I’m not mistaken- @@@

4) So Special – This actually sounds like something, even though the melody in the production and vocals has Michael Jackson all through it. - @@@@

5) And If – This is alright, nothing special though - @@@ ½

6) Rosebuds – This was also on the demo from some years back. It’s pretty catchy. - @@@@

7) Feel The Bass* - I don’t know if this is supposed to be to 2010 what Planet Rock was to the early 80’s but this sounds like an experiment gone bad. Kweli probably did this for the check. - @@@

8) Not On Our Level – Their attempt at making a “jeep banger”. Nore’s verse is laughably bad if you ever enjoyed The War Report. - @@@

9) White (On The Floor)* - A hot mess designed to make you look cool in a Miami or New York club - @@@

10) Bitch* – This is about “Sa-Ra” as Sa-Ra gets. Everything I feel is wrong with this group is contained in this song. – I won’t even rate this one

11) Do Me Gurl – This is a heater even though it sounds weird. Maybe it’s the Pete Rock/The Words and Why drums. - @@@@

12) Ladies Sing – The lyrics are whatever, but the old school doo-wop vibe is kind of cool. - @@@@

13) Sweet Sour You – Also on Bilal’s never released sophomore effort Love For Sale. It’s really a @@@ ½ but B’s vocals take it to a @@@@

14)Tracy* – See what I said for Track 10. This was the song that officially made me include the * qualifiers.

15) Fly Away* – More weirdness featuring Erykah Badu - @@@

16) Lean On Me – Someone told Kurupt “Yo you gotta get with these cats they’re the future” or like Kweli he wanted a check. - @@@

17) Fish Fillet – If there was ever the myth that Pharaoh Monche can make your song better, this disproved it. - @@@1/2

18) Thrilla – This is a banger, Dilla went in with a vintage appearance. - @@@@

19) Hollywood (Redux) – One of the best songs on here, if they went this direction instead of trying to be pimped out fashionistas I would fuck with them a lot harder. This is them doing what works for them, a slow soulful groove. - @@@@ ½

That makes 7 out of 19 songs that I’m checking for, throwing things at the wall and seeing what sticks doesn’t impress me. They need to produce for other artists and really carve a niche that’s all of their own or else they’ll wind up being the spaced out version of the Trackmasters.

If you need substantive proof of how weird they are, read any article you come upon.

*(If you like these songs you’re probably a hipster asshole, no two ways about it.)

Still one of my favorite songs of the year



This song is the reason I want to hear 50's new album, it's short, sweet, mindless thug banter. He didnt even personally come at Cam that hard, but 50 is the king of entertaining dis records. Make sure to look out for Yayo dancing on the motorcycle like it's jihad with the scarf around his face.

I'm A Get A Bitch Number Tonight


Long story short: I make these compilations that tell the true story of some point in my life, I give them out to my friends who usually appreciate my song selection etc. I'll expound more in the coming weeks as the hype builds for Soundtrack To A Summer Fling , but this was the unofficial prequel because I never knew at the time that I would do STSF.

It was around Fall of 2005 that I decided to compile hip-hop classics about pulling women, since I was getting back in player mode and the radio just wasnt doing it for me. The title comes from a moment of swaggered up brilliance uttered by the homey Donwill before he starts his verse on Tanya Morgan's "We Be". Since it was his phrase I asked him to host it, basically starting the whole thing off with an intro. After that Labor Day weekend he humbly sent me back a whole intricate story like "let me know what you think" and history was made.

Me on the song selection/sequencing. Don on the skits (I didnt write a word or give any ideas, that's all him) guest appearances by Ilyas, Von Pea, possibly a few Tanya Morgan lady affiliates and Jaye Swigga with the diva in charge-esque freestyle. It's a universally revered project with good times and good music for all.

Enjoy and feel free to leave commentary:
tinyurl.com/2cvrt7

Large Professor Instrumentals b/w Count Bass D - 2006 Some Music Pt. 2

Large Professor hearkens back to the era where (like Posdnuos said on "Rock Co.Kane Flow") the producer's name didnt need to be said on the track. "It Aint Hard To Tell" is a classic and 8 out of 10 people that go crazy when this song drops dont know who made the beat. Why? Because Large Professor never had a trademark or a signature sound, he just stayed humble and hit you over the head all through the 90's without getting the props garnered to Pete Rock and DJ Premier. He was the only guest producer on a Tribe album ("Keep It Rollin'" from Midnight Marauders) before they bought Dilla into the fray with the formation of The Ummah. If you've never heard Main Source's Breakin' Atoms, I feel sorry for your soul. He's been fresh on the beats and rhymes since a youngin (reportedly maybe even producing a majority of Eric B & Rakim's early masterpieces). Anyone trying their hands at making a difference behind the beats and rhymes simulteaneously owes a world of homage to this man.

Large Professor Instrumentals - http://tinyurl.com/22l5th

Count Bass D has never neglected to mention the influence that the Extra P has had on his career as a MC/producer. A close friend of MF Doom, Count is one of the most talented yet least recognized producers doing it. I wont start controversy, but the way Madlib's biggest followers are about him is how I am about this man. This was a Japanese import project released over a year ago that most of the world hasnt been blessed enough to hear.

2006 Some Music Pt. 2 http://tinyurl.com/23j5vg

The top 5 reasons you should have downloaded Che Grand's Fixtape by now

5) You've never heard someone narrate their own project with this much charisma.

4) He's developed from a hardcore rapper into the full package in a few short years: Humor, instrospection, flow, raps for women, battling, etc.

3) His appreciation for music extends far past rhyming over whatever the hottest Hip-Hop instrumental of the moment is. He'll spit over 80's classics, disco, house, jazz, whatever you give him and make the track all his. It's one of the most unique aspects of his artistry.

2) He singlehandedly caused a shift in my project "Soundtrack to a Summer Fling" (coming 5/22, shameless plug). "Trainspottin" was originally on there, but it's been replaced by something on here

1) The Lessondary is the future, and you already know I dont big up anything that isnt hitting.

http://tinyurl.com/2cetg3

The only reason I believe Hip-Hop Is Dead*

Albums like this wont get 5 mics in the Source or a XXL, let alone a review (magazinesneedmetoletthemknowwhatsgoodvertisement)

I'll keep it brief, but Blu will make any MC who considers themselves "nice" want to step their game up. Mos Def needs to hear this album and go back to trying to be one of the best. The scary part is Blu is in his early 20's with skill that says he's been here before. Oh yeah, his partner Exile blessed the hell out of him with the beats too.

The artist is Blu, the album is Below The Heavens. If you've ever called yourself a fan of classic Hip-Hop and want an experience that moves you, dont wind up sleeping.This is my favorite part of being a diehard fan of this, once or twice a year someone puts me on to something that blows me away (shoutout to the homie Von Pea).The sad part is maybe 5,000 people will wind up hearing this when 5 million need to.

*I generally hate this term more than any pop cultured cliche reference that's floating around. The man who made the album with this title still wound up suffering from part of what's wrong with the game: He didnt set out to make a classic, he just kind of winged it and wound up with a few bangers on an overall decent effort. That was just a marketing scheme on his part (albeit a successful one), now everyone has run amuck proclaiming "HHID" (I cant even stomach to type out that acronym aside from the title of this entry). It's alive and thriving so long as I'm listening to greatness and I have people to put me on, so that I can put others on which hopefully allows the cycle to continue.

Dont allow yourself to be distracted by that last paragraph, you need Blu in your life.

Mini Reviews - I will be doing these sporadically when a lot of product drops around the same time.

DJ Soul – Assorted Donuts: A tribute to Dilla, a few decent blends of classic verses over some of the Donuts album. I’m not impressed enough to listen again. @@@ ½

Devin The Dude – Waiting To Inhale: This album is vintage Devin with his standard brand of comedy, raunch, weed, lovelorn tales, southern funk and soulful hooks. Andre 3000 kills his verse on “What A Job”. This further cements why Devin is one of my favorite rappers. @@@@ ¼

Redman – Red Gone Wild: 5 years after Malpractice and he hasn’t lost a step. Another entertaining Funk Doctor Spot trip featuring the usual cast of Chris Tricarico, DJ Say What, Nasty Naj, the stick up man and Soopaman Lova. @@@@ ¼

Prodigy – Return of The Mac: Diehard P fans wishing he was still the rapper of old will use this album to forgive the Blood Money tragedy. For my ears it’s mostly empty thug talk with P going through the motions rather than still trying to make me believe he means it. Alchemist’s production didn’t quite blow me away either. @@@ ½

Young Buck – Buck The World: While the album has more substance than I expected, he should learn that there’s more to making a strong song than a good beat with a crunk hook. The highlight of the album is 50 Cent’s “Funeral Music” (the Camron diss) as a bonus cut. @@@@

Rich Boy – Self Titled: He isn’t talking about much, but Polow made sure he received strong beats and altogether it’s a well done album. I’ve played it once and definitely plan on spinning it more in the future. @@@@ 1/4

The first and possibly only masterpiece of 2007

After three listens I still I don’t fully understand this album enough to do a proper review. But I'll Sleep When You're Dead finds El-P raising the bar to a level that I cant see being topped this year. I used to write him off as a noisy king of the backpackers, but now he’s incorporated actual melody into his chaos to marvelous results. Part B-Boy, part apocalyptic visionary, part cynical critic, this is what happens when (Cannibal Ox's) The Cold Vein wakes up from an almost 6 year coma angry and totally devoid of hope. El-P has rewritten the book on multi-layering and broken into his own as a full fledged composer, managing to bring artists like Cat Power and The Mars Volta (neither of whom I'd probably give the time of day) to perfectly fit in his world. Do not attempt to listen to this album if you aren’t ready for your head to be taken to a different place. It’s nothing short of hard work perfected into brilliance, and most other hip-hop will pale in comparison until it dares to push the envelope like this while simultaneously succeeding at sounding good.

Revisiting Beats Rhymes and Life (and the idea that Dilla killed Tribe)

On the message board that I frequent designed for music discussion, there’s the notion that Jay Dee’s influence was responsible for the supposed downturn of A Tribe Called Quest’s musical quality on their fourth album. People used to blame Consequence but now they’ve comfortably settled for placing the blame on Dilla’s shoulders while fans such as myself get accused of trying to reinvent history by saying this is a great album. How could the man largely considered the greatest to ever step behind the boards join one of our favorite groups and do damage to their credibility? Answer: His presence killed the Tribe that we knew, but they were still a Tribe we could love. Here I will hypothesize on why people didn’t like this album, none of which could be blamed on the late James Yancey (for the record I loved it a decade ago and still do).

For starters, nothing they put out following the album that Lupe Fiasco is still probably sleeping on could have blown us away. After going to the past (The Low End Theory) and the future (Midnight Marauders), the Back To The Future trilogy had to go to the wild west to close things out, but the last one was still an entertaining movie. I see this album as their attempt at staying relevant, being that Hip-Hop had gone through huge changes in the nearly three years since Marauders came out (Peep the cover above, displaying how things were in disarray but they were carrying the flag for the culture. Pac died two months after this album's release, followed by Big six months later). By the same token nothing on this album sounded like something they wouldn’t ordinarily do, unlike the terribly awkward Nore collab on The Love Movement. They left their jazz influences behind and went straight boom-bap; with Dilla producing five songs on here, and his (at the time) unorthodox Detroit rap style not featured it’s hard to say he had any negative influence on the group.

I’ll now do a brief rundown of the songs and give my overall rating as of today (mind you I may be a bit biased as a full fledged Tribe junkie). Songs denoted with * were produced by Dilla.

1) Phony Rappers – The dark piano with a strange melody, the drum knocks, typical fanfare about emceeing. - @@@@ ¼

2) Get A Hold* - This is all-time fresh. The vocal sample, the faint bassline. @@@@ ½

3) Motivators – This joint was just fun and it was definitely hitting. In retrospect Consequence sounds young as hell, but I was always a fan of what he did on this album. @@@@ ½ (yeah that rating might be a bit of a stretch, but f*ck it)

4) Jam – I thought Dilla did this but the internet’s production credits say otherwise. If I could give this @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ I would.

5) Crew – Heat, listen to this beat and tell me it isn’t serious. @@@@@

6) The Pressure – This song was a standard cool joint, not bad at all but not outstanding - @@@@

7) 1nce Again* - I never knew Dilla did this, but this was a great lead-off single with a fun video attached - @@@@ 1/2

8) Mind Power – This was a sleeper, it was hitting. @@@@ 1/2

9) The Hop – Another heater - @@@@ ¼ (really a @@@@ ½, but corny lines dropped it down a notch)

10) Keep It Moving* - @@@@@ Point blank

11) Baby Phife’s Return – This joint knocked too @@@@ ¼

12) Separate Together – Tip’s flow was crazy as was the beat @@@@ 1/2

13) What Really Goes On – I never liked this song. @@@

14) Word Play* – This makes up for “What Really Goes On” and then some, one of the greatest songs in their catalogue @@@@@

15) Stressed Out* – This was a definite heater, strong message. Plus who else is creative enough to interpolate Anita Baker’s “Good Love”? @@@@ 1/2

Closing Note: You can definitely hear the influence of the music that would be heard on Fantastic Vol. 2, but this album banged overall if you just went in as a Tribe fan and didn’t expect them to recreate the wheel. Overall, I’ll rate it an impartial @@@@ ¼

Revisit this album if you need to, Dilla was a highlight if nothing else.

Sean Price - Jesus Price Supastar

@@@@ ¼ (better than @@@@ but not quite @@@@ ½ )

The mid-90’s golden age of Hip-Hop is long past us, with only select acts like The Roots, Common, and Nas able to maintain commercial and critical relevance over a decade after their introductions. As the culture took a more commercial turn, the once esteemed Boot Camp Clik was one of many that were counted out for until Heltah Skeltah’s Sean Price rose like a phoenix from the ashes with 2005’s Monkey Barz. With this album he carried the crew on his shoulders, no different from how Ghostface kept the Wu-Tang brand from disintegrating altogether. Once considered the weak half of his group with fans deferring to Rock’s gritty voice, Ruck has proven he can hold his own and then some. Layman proclamations (such as being “the brokest rapper you know”), and standoffish boasts regarding his MC caliber, splashed with the mix of a class clown/hooligan from Brownsville character has made for reality rap at its finest. Jesus Price Supastar is Sean Price’s long awaited sophomore effort, promising an even greater abundance of the ignorance that diehard followers have come to revere.

The bulk of the album’s production is handled by Justus League chieftains 9th Wonder and Khrysis, along with their affiliate 10 for the Triad. From the heavenly “Violence” to the raucous “Hearing Aid”, the aptly titled monstrosity of “King Kong” and the soulful “Let It Be Known” (featuring a stellar guest appearance by Little Brother’s Phonte), North Carolina and Brooklyn combine forces to do great damage. Sean Price takes a relentless approach with his spitting as he maintains an indistinguishable air of authenticity, incorporating 5 Percenter speak along with his thug bravado. He takes pride in not only his lyrical skill, but in seeing just how comically ignorant he can be whilst dismantling competition in his path. When Sean makes the exclamation “I worked so hard to be this stupid”, and comes with lines like “Kneel down kiss the ring/R Kelly your verse when I piss on your 16” and “Dutch in my ear, OE in my palm/I’ll Freddy Krueger your face, Michael Meyer your moms” you have to believe that he means business.

Stumbling moments are few and far in between such as “Church” produced by Tommy Tee which sounds like a Dr. Dre throwaway, all the way down to the Funkadelic inspired hook. The album's major flaw is a technicality, as Sean Price’s topic material is extremely limited resulting in songs that aren’t about much. The only deviation from battle rapping, pistol clapping and drug dealing/usage is the album’s closer “Mess You Made”, breaking down an introspective synopsis of his career and failure to attain mainstream success. The lack of diversity in his raps is more than made up for with well structured conceptual verses, crazy multi-syllabic lines and strong choruses displaying how his partner in crime Rock earned the nickname Captain Hook.

Jesus Price Supastar is a return to form as Sean Price sticks to his guns (no pun intended), doing what he does best. He never disappoints his core audience, those who live for the uncut unpredictability and humorous barbarism which he’s developed a knack for. The BCC legacy will continue to live on that much longer thanks to the God.

Debunking the myth that T.R.O.Y is the greatest Hip-Hop song of all time.

Author's Preface: I know my homey G. Mittens will be ready to have my neck hanging from a noose for this, but it has to be said.

I go back to the Video Music Box/Yo! MTV Raps days, so this has nothing to do with me not respecting history. “T.R.O.Y” was one of the best songs from the early 90s, but there's an unwritten oath stating this is the one song that will represent what "real hip-hop" was until the end of time. Saying “T.R.O.Y” is the greatest of all time hearkens back to the corny "when did you fall in love with hip-hop?" question from Brown Sugar (Note: I wrote that sentence weeks ago, since which point a female friend playing this song actually said "This reminds me of when I first fell in love with Hip-Hop") I'm sure that true disco heads don't consider "Stayin' Alive" to be that genre's greatest song.

Don't get me wrong, it's classic and it was great for its time just like "I Used To Love H.E.R" was great for its time, but I have no desire to hear either of those songs possibly ever again in life.”T.R.O.Y” is to Hip-Hop what Frankie Beverly featuring Maze's "Before I Let Go" is to classic soul. Say there was a Family Feud segment where they asked a white clan “Name the top 5 foods black people eat” what's the first answer they would give? Fried chicken of course, and while that may or may not be right (barbecue chicken, mac n cheese, candied yams, collard greens, hello?) it's a little off-putting for that to be THE food associated with my people. That's how I see ”T.R.O.Y” as a die hard Hip-Hop enthusiast, the casual listener who goes to a party here and there might say it’s the greatest but that just doesn’t sit right with me.

Pros: an unforgettable horn loop that starts the song and comes in during the hook, it's the commemoration of a departed loved one, etc. It’s like what The Cosby Show was to (black) sitcoms, a feel good family experience aside from the old head laughing all night about the hookers at the party.

Cons: There are no real epic moments as far as the MC'ing is concerned. People are moreso programmed to love the song than anything else, it's been played out and spun to the point where it's really not that exciting despite the massive "OOOHHHHHHHHHH" that erupts the 1,362 nd time you hear a DJ drop it at a party. 70% of people don’t even know the story behind Trouble T-Roy, they just know that when they hear the infamous Tom Scott sample they absolutely must lose their minds.

5 songs off the top of my head that I feel are greater
The Bridge Is Over - http://www.sendspace.com/file/ifvjg5
The Show - http://www.sendspace.com/file/qptawz
Scenario Remix - http://www.sendspace.com/file/a6z2xf
Buddy Remix - http://www.sendspace.com/file/17wac5
HipHop Junkies http://www.sendspace.com/file/vf5xw1

Marc Mac - It's Right To Be Civil

Marc Mac is one half of 4Hero, the legendary outfit from the UK that you should be familiar with by now. I've been up on them a good 4 years now (You NEED their forthcoming release Play With The Changes), but I'm just getting hip to his side work.

While you should do your ears a favor and hunt down Dirty Old Hip-Hop by The Visioneers as well, It's Right To Be Civil is an instrumental album he released last year. Black consciousness spliced over seriously ill beats, this man can do little to no wrong.

http://www.sendspace.com/file/gz9ggb

Da Backwudz - Wood Work (Sleeper album of 2006)

Shout to my man Greg for making me check this album out.

This is the perfect blend of The Dungeon Family's consciousness and the ignorance of (the T.I. spearheaded) P$C. Strong lyrics & production, hooks, songs with good concepts, humor, seriousness, the complete package.

I actually interviewed Milwaukee Black (CEO of Major Way Entertainment) a year ago and I slept hard, not taking him serious because they didnt have a sizeable buzz.

www.sendspace.com/file/0jh8m9 - You Gonna Luv Me (yes, with the Dreamgirls sample)

Talib Kweli – Liberation
Rating - @@@@

Author’s Preface: I used to ride for Kweli like DMX did motorcycles and Boomer. I put him on nearly equal footing with Mos Def in Black Star, he got a pass regardless of histryingtoputoomanywordsintoabar and occasionally coming with questionable lines ("Your girl calls my name out like Clarence Carter, Clarence Carter, Clarence Carter"). I live and breathed “K.O.S. (Determination)”, it pretty much changed my life as an 18 year old. I greatly anticipated Train of Thought and it lived up to the hype, “Wont You Stay” off of Quality is my favorite hip-hop love song of all time. When The Beautiful Struggle came out I gave it @@@@ after one listen, with benefit of the doubt because I felt he just couldn’t come weak at all. In retrospect that album was trash and he’s been suspect with me ever since. The occasional hot verse won’t cut it when you used to bring it like he did, he set the bar too high for himself and expectations too high for fans. This is a precursor to the forthcoming full-length Eardrum (which is supposedly ill) and I’m listening with a completely open and unbiased mind.

>>>For the past few years Talib Kweli has been the unfaithful partner to heads who see him as one of the last hopes for authenticity in the mainstream. It’s been a heavy burden to bear as he wants to sell records and reach the minds of people in the same breath; damn near an uphill battle as he and his audience know that corporate interests don’t lie in being positive or progressive. This has made for a conflicted MC in Kweli, sporadically glorifying violence, weed, and women while not going so far that his shifting gears could be considered a radical 180 degree change. He’s gone from Rawkus to the limelight and understandably has to ride the line down the middle so as not to ostracize potential listeners; meanwhile diehard devotees are left confused as to his next move after his sloppy recent mediocrities. Liberation assumingly finds Talib attempting to show that he still has the left of center in mind, joining forces with backpacker delight Madlib on the boards.

The two make for a solid chemistry as Talib Kweli sounds at home with Madlib’s infinite versatility, the producer churning out all types of sounds, each different from the last. “The Show” opens the album and finds Kweli flexing his standard lyrical braggadocio over soulful horns. “Over The Counter” can be described as futuristic funk, with the political reflections and wisdom Talib has come to be revered for. “Funny Money” discusses promoters, shows, payola, and the politics involved with putting food on the table as he stresses “My kids can’t eat my love of hip-hop”. Guest star Consequence shows up and trades the perspectives of criminal and victim with Talib on the highly creative “Engine Runnin”. Conversely, BlackSmith’s Strong Arm Steady leaves a bit to be desired on “The Function”. As well, “This Happy Home” (the requisite family song) runs a bit too long, but these are miniscule flaws in the face of a concise package.

Kweli still forces a few corny lines every now and then (“Still I’m bringing sexy back like Timbaland and Timberlake”; “I’m the boss like I need Shareefa”), but all in all he’s focused and back in the zone on this project. He made a blog entry warning fans not to expect Eardrum to sound like this or vice-versa, but at least now we know he’s still capable of representing the past shining underground star that we knew and loved.<<<