Archive for July, 2009

Conversation with Ja Rule: Man in the Mirror (2009)

Posted: July 30, 2009 in Music Interviews
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Last year, Ja Rule was planting the seeds for a comeback. We talked about the leak of his shleved album The Mirror, and how suddenly his previously maligned singing style has become popular again.

Ja Rule is excited. For the past several years, the Inc lead artist has taken a back seat after dominating the early 2000s with a string of chart-topping hits. Now, Rule finds himself on the verge of releasing an official comeback LP this November. But first, he has a special treat for fans in The Mirror, the original studio album that has been leaked in various incarnations since 2007. Ja Rule is ready for a comeback, but are the fans ready for him?

Ismael AbduSalaam: Congratulations on finally getting The Mirror completed, I know you’ve been working on it for a minute.
 
Ja Rule: Nah, The Mirror’s been done. We just had some issues with it, some leak issues. I ain’t that nigga to hit my fans with some shit they heard. Even if two fans heard it, I’m not putting it out there for the public. So I went in and made a whole new album. The new album is crazy, but a lot of people didn’t hear Mirror. I’ve been getting hit on Twitter, Myspace, and Facebook with people asking about The Mirror. So I realized there are a lot of people who didn’t hear the shit. So today they’ll get a taste of it.
 
Ismael: So you’re the one leaking it?
 
Ja Rule: Actually that’s not true. The album was leaked already. I don’t know how it got leaked. People could get it and hear it online. That fucked up my whole project. But I just want people to hear the album who didn’t.
 
Ismael: This is your first album in about 5 years. With the title, it alludes to facing the truth about yourself once you look in the mirror. What are the big truths you learned about yourself as Ja Rule the artist and man during this past half-decade?
 
Ja Rule: It’s hard for the public to distinguish the truth. They get a persona that you portray or they see on screen, but that may not necessarily be the person that you are. Or they may only know you from the singles you drop and do videos for. A lot of fans don’t get to soak up the whole album. With The Mirror, I just wanted people to get an inside look to what it is like to be me and go through what an artist goes through period.
 
 
Ismael: Not to make you feel old, but we’re right at the 10 year anniversary of Venni Vetti Vecci. Even amongst your biggest critics, that’s the album that many concede was executed well. For the fans who love that album, can they expect tracks like “Story To Tell” and “It’s Murda,” or will they get more “Mesmerize” and the other radio songs that took you to stardom?
 
Ja Rule: The Mirror is really a compilation of complex and different records. They’re not all the same. I got records like “Father Forgive Me” on the album, and “Sing a Prayer For Me.” These records are completely different. I wanted people to feel those sides of me because I’m an artist that likes to grow with each project.
 
That’s something that people don’t understand about artists. If you go to your job everyday and get bored at it sometimes, it’s the same thing with us, [especially] if you go in the studio and doing the same type of music year after year. You get bored and want to try something new and expand your horizons. When you hear “Father Forgive Me,” that’s me broadening my horizons and moving to something different.
 
 
Ismael: Let’s go back to 2007 when you were first wrapping up this project. Were you getting a lot of resistance from Universal, since they were expecting those platinum hits, and you were now seeking to experiment? Was it a struggle getting them to see your vision?
 
Ja Rule: It wasn’t really a fight. The situation just didn’t work, it wasn’t a marriage. Sometimes it’s like that. When you see a project do 5 or 10 million that was a project that had good chemistry all around it. Not just through the making of it, but after recording to the marketing and promoting of it. Those are special because everybody is in tune and wants the same thing. It wasn’t like that with The Mirror.
 
I was new over there at Motown. They never got no money with me in the past. I was a Def Jam artist. There was poor communication on both ends.
 
Ismael: We’re ending the first decade of the 2000s, and pretty much the R&B/Hip-Hop collaborations that people were slamming you for are making a resurgence like they normally do every few years. When you look at today’s scene, do you feel it validates you now that people are running or trying to run with the formula you perfected?
 
Ja Rule: I said it in one of rhymes on Message to Mankind, “I gave birth to a style that’s way too common now/Niggas cocktailed my shit/Got it all watered down.” [laughs] That’s how I feel about it. Like autotune. That was T-Pain’s sound. And now everybody uses it, and Jay puts out “Death of Autotune.” Now, T-Pain might have a hard time coming back with his own sound, because so many people saturated and made it not the shit. I like autotune and think its some fly shit. Roger Troutman was the first and T-Pain made it his own thing.
 
With me, I didn’t create melodic tunes. There were people doing melodic tunes before me, but I made it my shit. And that’s the difference. When I want to kick it up a notch and do something y’all can’t do, I do this. We can all go in the booth and spit and go hard at each other. We used to do that all day. Me and X used to go to different spots and battle rhyme. DMX was a battle rhymer back in the day. And with Cash Money Click we would go to video shoots and battle rappers, that’s what it was. It’s nothing for an artist to go in the booth and spit it. I can do that and rock with anybody.
 
But that melodic shit? I did it in a way that no one else could do or even wanted to try. For me that was my special shit that separated me from other artists.
 
 
Ismael: I’m sure you used your time away to enjoy your family, and also grow as a human being. So looking at Hip-Hop, do you feel it’s grown with you, or has regressed from where you left it?
 
Ja Rule: Hip-Hop changes every few years. I remember a time when dancing was the shit in Hip-Hop when I was younger: from the cabbage patch, the wop, pee wee herman, the Biz Mark, we had a gang of songs and dance records! And it was cool for us to do that. Now I’m 33, and you sound about in my age bracket and that era, and you know Hip-Hop has always been a youthful thing. [The dances] are for the kids to enjoy and have fun.
 
But Hip-Hop is such a big business now, and we grew up with the music. So now you have fans of all ages. That’s why artists like myself, Jay, and Kanye can come up and still sell records because it grows. I listen to Hip-Hop and I’m 33. My kids listen to it. They’re going to grow up and I’m going to get older still listening to Hip-Hop. Then their kids will come up listening to it. So Hip-hop will keep getting bigger as long as we keep putting out good music.
 
 
Ismael: Looking at R.U.L.E. that contained one of the last high-profile NY collaborations to go national in “New York.” Where do see NY Hip-Hop now in terms of quality?
 
Ja Rule: [Pauses] Y’know, I don’t like to categorize it like that. I feel we’re all Hip-Hop. It’s not music, it’s a state of mind and way of living. It’s the clothes, attitude, walk, and everything that we do. We are different from society, and I don’t want to generalize from region to region. We all made Hip-Hop, and grew up loving it. It’s not like any other form of music. Other genres don’t categorize their shit by region to region, it’s all one thing. I feel we should really stop the divide and conquer shit they try to throw at us. We’re all Hip-Hop.
 
 
Ismael: The “Uh-Oh” joint with Wayne was right as he started building the superstar momentum that has manifested today. Did you foresee him becoming as big as he is?
 
Ja Rule: Weezy was doing what he wanted to do. You have to do the music that you feel in your heart, because that’s what the people will feel. When it’s coming from there, the people respond. He really put in a lot of work on the underground circuit, mixtapes, and he pleased the people. He loved Hip-Hop. He didn’t do it for the money. For about two years straight he said “this is for the people and the fans.” And that’s why he received the love and the rewards. It was a fucking small flame that blew into a fire. He deserved it and worked hard for it.
 
Ismael: You have a new label imprint with Empire Records. Are you looking to create a distinct brand away from the Inc or just build onto that movement?
 
Ja Rule: We made history with Murder Inc. It’s incredible to look back at it. But Empire is my movement. [Irv] Gotti is my brother who I love to death, and is supporting me. I guess if you merge the two you have the Inc Empire. [laughs] It is two separate things but still one thing.
 
Ismael: You did some venting about DMX and Ashanti on the track “Judas,” regarding some of the past issues you had with the moves they’ve made. Is all that done now, or are there any other past transgressions you needed to let out on The Mirror?
 
Ja Rule: Nah, I didn’t want anyone to look at The Mirror as a diss album. That was a song I felt I had to get off my chest. When I have thoughts I have to get them out my head through song. “Judas” was just a real record I felt I needed to make. I didn’t mean to hurt anyone’s feelings; I love everyone that was supposedly talked about on that record. I have no problems with anyone.
 
 
Ismael: I remember hearing you speak of the 2002-2003 period as a time when the public just threw you on the “hate train” for no reason. When you look back at that period, do you think there’s anything you could’ve done differently to stop it, or do you feel it was a just an inevitable freight train?
 
Ja Rule: The fans don’t get a chance to understand the ins and outs of how things work. I don’t think they’re privy to inside information on the underhanded s**t that goes on in this industry. They only get to see what is printed, and perception is reality. That situation and everything around that period in my career didn’t make sense. It didn’t add up. 2+2=8. [laughs] I look at it now and laugh. I’m happy I can because you have to make light of situations like that or you’ll drive yourself crazy. I know how we move and it’s just a funny situation, one of those things you deal with in life. God sends you a test, and you have to pull through and show you’re a strong dude. That takes a lot for a nigga to stand up and walk through fire when people are throwing stones.
 
Ismael: Best case scenario for The Mirror, do you want to recapture that superstar status you had before? After experiencing how quickly people can tear you down, is that a reality you still strive for? Or is having the love of your diehard fans enough?
 
Ja Rule: I have an uncanny love out there. There’s diehard Ja Rule fans out there, and those that really hate me. But when I look at the reasons people don’t like me, it never really resonates. They’re usually frivolous reasons, never about hating the music. I’m not concerned with that. I’m concerned with those who understand what goes on in the music business and what happened with all the shit I’ve been through. People like comeback stories, to see someone be on top, fall, and come back to glory. That’s the American story. A lot of people are rooting for me to do that with my situation and my new label. I’m getting a lot of love and good feedback. I’ve been all over the world. I’ve been touring for about four years now overseas and it’s crazy. People want to see me win and I don’t want to let them down. I want to put out that music that people will enjoy.
 
The Mirror is a present for them to enjoy. They’ll get a chance to enjoy it in its entirety. And it’s free, you don’t have to pay shit for it. I’ll have a mixtape soon and then my new album. I feel it is my time to hit off Hip-Hop.
 
On The Mirror I didn’t do too many guests. I have Weezy, Game, and a lot of new artists who did their thing. It’s just a great album. And I got production from my man Erick Sermon and Chink Santana.
 
Ismael: What’s the early word on that new album?
 
Ja Rule: New album coming real soon, looking to drop around October or November. I worked really hard for the fans. Look out for my new label Empire Records and all my new artists. I don’t have a title yet. I may do a little contest to get the fans to give some ideas. I’m tittering with it every day.
 
Ismael: I’m sure today the fans who haven’t heard The Mirror will be eager to give it a listen.
 
Ja Rule: Yeah man, but I’m not trying to get in any trouble with Universal [laughs]. The album was already leaked don’t sue me! It’s all love, and it’s getting real crazy. I got a lot of people backing me and it’s feeling good, my nigga.
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Conversation with Royce da 5’9 (2009)

Posted: July 23, 2009 in Music Interviews
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A little over a month before Slaughterhouse released their debut, I caught up with Royce da 5’9 to review his own projects, including the Street Hop LP and the 3rd installment of his Bar Exam mixtape series. From Royce’s comments it appeared the tension that sparked with Wu Tang Clan due to Joe Budden’s Method Man comments had been resolved. However not long after this interview Budden was assaulted in his dressing room by Raekwon and members of his entourage. In addition, Royce gives me his thoughts on Detroit’s economic woes, his “beef” with Charles Hamilton, and Eminem’s lyrical standing.
 
Lyrical warfare alone rarely captures the public’s imagination. It’s a cold fact that many talented albeit one-dimensional lyricists have had to learn over the course of their careers. But destiny may have a different fate for Royce da 5’9. Instead of regressing, the Detroit native’s work has continuously improved since making his major label debut with 2002’s Rock City. Now with the buzz-heavy Slaughterhouse project dropping next month, and long-anticipated DJ Premier executive-produced LP (Street Hop) coming in September, Royce da 5’9 is primed to make his most concerted effort towards mainstream acceptance.
 
Ismael AbduSalaam: Congratulations on getting the Street Hop album ready, I know you’ve been working on it for the last few years. It’s been about 4 years since your last full length LP, Independent’s Day. How has your mentality differed in approaching this album as opposed to the last 3?
 
Royce da 5’9: I just stepped it up. I’m proud to say I’ve actually gotten better over the last 4 years. It’s scary the shit I’m coming up with, because I hope I’m not peaking out at this age. But I’m not that old, and I’m looking at what Jay-Z is doing [and] I’m thinking I have a lot of good years left. But I’m definitely at the top of my game right now; I can compete with the best of them.
 
 Ismael: You’re working with DJ Premier again, and you guys have been collaborating heavily over the last couple years. When you work with someone regularly you pick up a lot of their quirks and routines which enables you to work together better. Talk about the chemistry you have with Premier in relation to the other producers you’ve been working with.
 
 Royce: You know what? I have the same chemistry with a lot of producers that I have with Premier. It’s just something about when me and Preme finish something. Because of his legendary status, and what I’m doing to his beats, fans just want to hear more. We got chemistry as friends, so when we get in the studio it’s really simple and nothing extra that we have to do. It happens to just work out every time. It’s us being really comfortable around each other in the studio because we’re cool.
 
Sometimes you’ll meet a producer, y’all are working that day, and you may not really like him. You might think he’s the most talented motherfucker in the world, but also think he’s a jackass. It’s about vibing with the person for me. Unless it’s somebody just giving you some many ideas, but I don’t think I really need that. The last person I got in the studio with producer-wise that was like “yo, you should rhyme it like this, this is the hook,” was Pharrell. And I liked him as a person as well. It was a good chemistry with us and I trusted his judgment and we came up with a lot of good records. But I was a kid back then. If I got in with him now, we’d do some monumental shit.
 
 
Ismael: I remember you originally announcing Street Hop a little over 2 year ago, with the lead-off track of the same name with the Nas “Made You Look” sample. Is all the material for the album new or did you include some of the older tracks from previous years?
 
 Royce: That’s another thing that prolonged it. The body of work that I had for those years was leaked out. So I was forced to go back in and start from scratch. I kept the same album title but did all new records. I don’t have anything old.
 
 Ismael: All the Slaughterhouse members are expected to drop EPs this month, with yours being the first. This is extensive promotion for just one album, so would you say this is the biggest media campaign you’ve personally ever been a part of?
 
 Royce: Yes it is, and that because it’s the one I’ve been most involved in. Normally in the past I would do a project and hand it over to the label and say “ok, y’all do your thing.” I’m very involved with the media campaign of it, and also getting together with the guys and trying to make this work for our solo careers as well as the group. The beauty of it is we all have our respective careers. We don’t want to get in a group and just be looked at as group members. We’re all sitting on monster shit as solo artists. We want to strategically put ‘em up out to where we’re controlling a part of the music business for a certain amount of time… It’s very possible. We’re all sitting on a lot of material, and have the outlets to put it out. It’s a powerful movement.
 
 
Ismael: From the outside a lot of people would assume Joe Budden is the de-facto leader of the group. But in the studio I’m sure it’s a lot different from the public perception. So when you guys are working and throwing ideas back and forth, is there anyone is particular that takes the lead as far as selecting rhyme order, or does everyone maintain equal input?
 
Royce: As far as the order, it’s never an issue. We never say “yo, you should go first.” Normally whoever finishes writing first goes in the booth. The guys trust my judgment creatively. Where we are in our careers, I probably have the most history in terms of experience in making albums. So I think they look to me since I’m a big brother to Joell and Joey, and me and Crooked are so much alike it doesn’t matter if it’s me or him that takes the lead. Rhyme for rhyme he’s going to do him, and no one can fuck with that. I think one of my strengths is making albums and songs, and we were really focused on making songs. Verse for verse we’re always going to have that. But in terms of putting songs together I think they look to me for that. And I’m never going to let them down. And two, with me taking the lead we just came up with a crazy album.
 
 Ismael: People are assuming this will be a straight lyrical, battle record. But I’m sure you guys are not going to do that. Take about the surprises you have in store for people who are expecting just a battle album.
 
 Royce: Man we got real records. The album sounds like one of our solo albums with all of us on it. Just because we’re a group doesn’t mean we’re going to go in and sway away from the regular formula any of us would use on our own albums. All of us came to the table with songs. Like Joell straight up donated a song from his album. With that said, we were more concerned about making records than doing 13 onslaught Slaughterhouse records, because people already know we can do that. I’m telling you man, everyone is going to be surprised when they hear it. Its classic and all 4 of us think so. It’s the best project that any of us have been a part of. We’re real proud of what we’ve come with.
 
 Ismael: Everyone knows Joey has always been real outspoken about everything. He’ll speak his mind about any and everybody in Hip-Hop. Sometimes that will get him into issues with other artists. Did you guys have any reservations about this, or is everyone comfortable with whatever comes his way and will hold him down no matter what?
 
 Royce: Well it’s both; I’m going to hold him down even if I’m uncomfortable. But if I’m uncomfortable with something he’s saying, I’ll go to him and not disagree with Joe in the media. I’m like his big brother so he’s going to listen to me. He respects me like I respect him. Two, he’s not an idiot. Joey just don’t say shit and not realize it’s something he shouldn’t have said. 10 times out of 10 if Joey says some shit, he may think about it later and say “damn, I shouldn’t have said that.” We all as human beings do that. His personality is just a little stronger than the average persons. That’s what makes him special and that character in the group. For all of us, we let him be who he is. We just keep a close eye on him and let him know “yo, you probably shouldn’t have said that, but don’t worry about we’re going to straighten it out,” because he’s never said nothing too crazy where someone would want to kill him or some shit like that. It’s just minor and a lack of communication.
 
 
 So he says something about Method Man, and I know I’m going to bump into Raekwon, I’m going to go to Raekwon with all the respect in the world and let him know that we feel they are legends. I’m going to put Raekwon and Joey in front of each other, Joey is going to apologize but he honestly feels like it was a lack of class. They’re going to shake hands, and Raekwon says “I’m going to put you on the phone with Meth.” And once him and Meth talk, that’s it! No more beef and nothing else to talk about.
 
 Now as far as the Ransoms and niggas like that we don’t care about them. Them niggas is lame. They’re going to say what they say. But the real niggas? We’re going to always squash it. And I’m a real nigga, and I have niggas in the streets everywhere. So it should never be a problem with nothing being squashed, because real niggas never look for beef. Real niggas never want beef. Real niggas always want to find the resolve.
 
Ismael: Bar Exam 2 was the top mixtape of 2008.On a few songs you’ve already talked about Bar Exam 3 coming. Will you keep the same format with that one?
 
 Royce: I’m looking to step it up lyrically, always. I want to put a classic mixtape together and go with a different DJ every time. The last 2 did really well, so I’m looking for nothing but critical acclaim. If I can keep putting in people’s heads that I can rhyme on that level, that drives me. I do this with my own money. But right now sh*t is so hectic with the Slaughterhouse project it’s going to be harder to squeeze it in. Like the “DOA Freestyle;” Joey and everyone just happened to want to go to a strip club in New York, and I said nah I’m going to sit back and chill. That’s how I got the time to do that freestyle. It’s going to take for those types of moments for me to stockpile enough material for me to work Bar Exam 3.
 
 Ismael: Is there a DJ you already have in mind for the project?
 
 Royce: I got a few people in mind, but it’s a little too up in the air for me to start saying names. It will always be the people that I know can take it to the next level. I’ll be ready to starting naming names in a couple weeks.
 
 
Ismael: You mentioned the “DOA Freestyle,” which stood out to me in terms of what happened with Charles Hamilton. Back in about mid-June, you excused his Dilla comments by saying he was a young kid who was running his mouth, and that you would take care of it so he wouldn’t be in any danger in Detroit. But in the freestyle it sounds like you washed your hands of him. Did something happen in the last couple weeks to make you change your opinion of him?
 
 Royce: Yes. When I spoke with Charles, I explained to him the dynamic of Detroit. I told him we’re all one team; we don’t ride against each other or stay neutral. It’s not what we do. We don’t like the names of our legends just being thrown around in particular ways whether you’re trying to show admiration or not. If someone takes offense to it, and it’s the wrong person, I’m telling you that you’re bickering back and forth with the wrong people. This is a battle you can’t win. I told him to apologize for whatever he was saying on Twitter once we get off phone. And after that don’t speak on it no more and I’ll talk to those people and just end the shit. He said “good looking and I appreciate it and I’m going to do that.”
 
I wasn’t asking him to do that for me, but for him. Because I could have easily said “let’s just jump right on him, he disrespected the D!” But I didn’t because I’ve been at an age where I didn’t have any regards for what I said. I grew out of that sh*t and I think Charles will too. He’s a smart dude. So he typed some half-ass response that nobody took as an apology. I didn’t trip but thought maybe he just don’ get it.
 
So the next day I go on Twitter and read this with my own eyes: “Detroit is mad because they lost J Dilla, and Harlem is mad because we lost Max B. I guess we’re even.” Now that made me mad. Number one, you’re disrespecting me. We just had a conversation where I stepped out of my regular character and played the mature role for the simple fact that I like him. Second, I felt like I was going away from my city for a minute. So I had to throw him a couple lines to put everything back in perspective and let him know what it could be.
 
[It’s] not that I’m beefing with him or even that I’ve washed my hands of him. It was just a warning shot. I’m sure he didn’t take it as nothing but that. But if you fire back I’m going all the way at you. He hasn’t said anything since then so it’s all good with me.
 
 Ismael: Detroit right now is hurting more so than the rest of the country economically. Do you see things turning around soon or do you expect conditions to remain in dire straits over the next few years?
 
Royce: Man, in Detroit I can’t really say. It doesn’t feel like things will turn around no time soon. It’s just a dark cloud over the city. With the plants closing I think we’ll need a minute to rebuild. We need this economy stimulated in some type of way. I just hung out when Slaughterhouse was in town. I took them out and man, it looked like no one had any money. They got off the plane and there was a dude begging. It didn’t use to look like this but we’re going through a lot. It’s nothing that’s going to be repaired in one year, but over time it’ll turn around, like Hip-Hop.
 
Hip-Hop went through a dark period where everybody sucked. Now it’s looking up again. We got Slaughterhouse; Drake can rhyme and is getting a lot of notoriety, Wayne, Fab coming back out, and Kiss doing numbers. And also with Jay-Z coming back out, so it’s looking ok for the coming year.
 
 
Ismael: Since you’re good friends with Eminem, I know you were anticipating Relapse after such a long sabbatical. What did you think of his comeback effort?

Royce: It was my first time hearing him rhyme in a long time. I thought the shit was good. I think he set the bar so high with things before, I don’t think there’s anything he can say anymore that can make me go crazy. He set the bar where no one else can go and I feel the same way about Jay-Z. I’ll get the Blueprint 3 but I don’t see myself flipping my wig over anything on it. I expect a great album but not for it to make me feel the way the original Blueprint or the Marshall Mathers LP made me feel. What Em is doing is still better than what everyone else has, but because the game is so f**ked up now it makes it hard for me to listen with my biased ears and call anything classic.

 
Ismael: To end on somewhat of a light note, with MJ’s passing, which album would you rank higher, Off the Wall or Thriller?
 
 Royce: I’d say Thriller, but it’s close, though. Thriller is my personal favorite. Thriller is the best album in any genre of music, ever. That’s my personal opinion but I love Off the Wall. I think it’s one of the best albums, too. But Thriller is still my favorite.
 
Ismael: Any other final thoughts?
 
Royce: Slaughterhouse self-titled LP August 11, my digital EP The Revival is in stores now, and September 22 my full length LP Street Hop, executive-produced by DJ Premier. Be on the lookout for all the Slaughterhouse projects that will be coming for the remainder of the year. For Street Hop I have Busta Rhymes, Slaughterhouse, my little brother Kid Vishis, and Phonte from Little Brother.

DJ Spinna: Sonic Smash (Album Review)

Posted: July 20, 2009 in Album Reviews
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Hip-Hop is truly “sink or swim” in 2009. Gone are the days where an artist simply perfects their craft and entrusts a label to package and cultivate their brand in the marketplace. Now, artist is a synonym for A&R, street team, publicist, and tour manager. Enter DJ Spinna, who as a late 90’s artist is old enough to remember the Silver Age of Hip-Hop, but young enough for his art to not be bound or stifled by previous traditions. On his latest project, Sonic Smash (High Water Music), Spinna makes good on his promise to deliver a no frills, streamlined Hip-hop album.

The opening tracks are heavily preoccupied with addressing the perceived artistic limitations of mainstream Hip-Hop. The live spoken intro on “Elemental” immediately declares to the listener they are dealing with high art, as the emcee requests that the audience call out the elements of Hip-Hop culture (emceeing, DJing, graffiti, and breaking). From there, the five man NYC group Sputnik Brown shows reverence for pioneers like Grandmaster Flash and Jazzy Jeff while pontificating on Hip-Hop’s pure beginnings (“Relevant elements for inner city settlements/Before they starting selling it/Hip-Hop was intelligent/Strictly wild styles is what we represent”).

The commentary takes a sharper edge in the hands of the gruff and capable Torae, who wowed critics and fans earlier this year with the Marco Polo collaboration Double Barrel. For Sonic Smash, DJ Spinna supplies the Brooklynite with an appropriate thumping bassline accompanied with a sinister melody chock full of galactic, sci-fi effects. Titled “Lyrics Is Back,” Torae asserts himself as a vanguard to improve Hip-Hop, instead of simply bemoaning the culture’s past exploits (“I miss the days of Big Poppa/When Tip said ‘Hammer…Proper/Damn that was the knock y’all/I remember when cats went in to make memorable tracks/I hope you listening the lyrics is back”).

Thankfully, the early mainstream antagonism is short-lived, and the LP opens up further as DJ Spinna shows off his creative sampling. The routine rhyme performance from the Jigmastas (“New York”) was strengthened by Spinna’s savvy lifting of the ubiquitous beginning chords of Michael Jackson’s “Beat It.” Sticky Fingaz’ frantic “so, so, so” phrase from “Throw Ya Gunz” becomes the chorus backbone for “Get On Down,” which features young guns Fresh Daily , P. Cass, and Homeboy Sandman spitting rapid-fire rhymes over scratches, cymbals, and trumpet horns. The lush arrangements continue with “Call Me Senor,” the melodic vehicle for burgeoning Atlanta emcee Senor Kaos to spit self-determination rhymes celebrating his lyrical gifts.

The album doesn’t falter even when tackling the obligatory love track. Phonte’s Little Brother provides his usual perceptive life lyrics on “Guaranteed,” and Spinna crafts another unique, funky mood with a nice vocal sample of the 70s smokeout anthem “Smokin’ Cheeba Cheeba,” from the Harlem Underground Band. Vocalist Yazarah takes care of the hook duties, and her crooning provides the female element needed to round out the track. “Melody” is even more engaging, with former Rawkus standout Shabaam Sahdeeq effortlessly riding an upbeat, jazzy Spinna offering with bars on the conflicting emotions love brings (“So many times she cries say I spend no time/I was out on the town with different dimes/They was all same change/I wasn’t ready to change…”).

Rounding out Sonic Smash are several songs with pointed social and political commentary. Elzhi continues to develop his concept skills with “More Colors.” The track references the various vibrant colors that define a community, from police “blue” to the products of drug dealers (“Go from painting the town red underneath the night skies/To going to trial/Telling little white lies”). Dynas uses Spinna’s ethereal production on “More” to detail our spiritual and educational degradation as a society. In contrast, femcee Tiye Phoenix takes a more conspiratorial approach on “Still Golden,” and takes the stolen legacy approach in discussing the history of Black culture.

With most compilations, it’s difficult for the arranger to retain any type of cohesion and buck the inevitable mixtape feel the project takes on. But with Sonic Smash, DJ Spinna gives his guests just enough creative leeway to keep each offering distinct. The end result is not just an enjoyable album, but one that delivers on its beginning vow to reflect the elemental pillars of Hip-Hop.

 

DJ Spinna feat. Torae- Lyrics Is Back

DJ Spinna feat. Shabaam Shadeeq and Erik Rico- Melody