Ludacris - Ludaversal ALBUM REVIEW

Fifteen years, eight albums, numerous number one singles, three Grammys, eleven films. There are rappers that are hoping and wishing they'll have a resume like this in fifteen years. It's easy to see that Ludacris is one of the most successful rappers of the entire 2000's decade. He instantly pulled fans in with his voice, his witty and humorous lyrical word play, likable personality and his catchy hits. He had everybody "throwing bows", "moving bitches" out the way, made you "stand up" while telling you to "get back". All while putting together one of the best discographies in hip hop today. Today in 2015, he's a successful actor, an entrepreneur, record label CEO and of course a father. He and his music has gotten a bit more mature in recent years. His 2006 Grammy winning album Release Therapy was proof of that. It continues here with this. His eighth album Ludaversal. Now it's been five years since Luda's last album release (he's been too busy in Hollywood). So I assumed that he may be a little rusty since it's been  while. Not to mention that last album, 2010's Battle Of The Sexes, was kinda forgettable. Not that it was that wack but it's easily his worst album to date. So with all of that, I honestly didn't know what to expect going into this album. But I thought the album was alright for what it is. Definitely better than the last if anything. It's nothing but typical Ludacris. A short album with hos same witty lyrics, bass thumping production and wide range of subject matter. There are however moments on this album where that maturity I talked about shows. On all of the personal songs towards the end. Topics from family lost, the goods and bad of fame, his future and so on. It's pretty much a straight to the point album. Like most of his albums are. Now let's begin the break down:

1. Ludaversal (intro)

So the album begins in typical Ludacris fashion. Rapid fire lyrics over dope production courtesy of David Banner. The beat is filled with plenty of snares and trap-style drums. I always said Ludacris has a knack for making good intros that set the tone for the album. Nothings different here.

2. Grass Is Always Greener

It's an old saying we've heard time and time again. "The grass is always greener on the other side". When you see something that you want or something that you want to do that's better than what you have now. So you get it, only to find out that it wasn't as great as you had previously imagined. Now you wish things were like how they used to be. That's what Luda is talking about here. Taking that and applying it to certain situations and/or decisions he's made in his career. Especially as of late. Producers Da Internz put together a very simplistic yet catchy beat. The bass line drops during the verses then picks back up on the hooks. Cool song overall.

3. Call Ya Bluff

Here's your first taste of some serious "bump in the whip" music. Syk Sense creates a dope beat here. A hard, aggressive bass line with a few more added drums. Guarantee to make your trunk shake. Judging by the hook, it sounds like he's calling out the fakes in the rap game. Them and any other haters that had something to say about him specifically falling off and what not (like how people say he hasn't been the same since he cut his braids off). Anyway, this song is pretty much all production. 

4. Lyrical Healing

Continuing from the previous, Luda is still going in on the haters on this one minute interlude. But here it seems like he's getting more specific. Stating things like certain rappers jacking his flows, talking crazy about him and so on. It sounds like he's directly responding to someone specific. I don't know who. I'll let y'all figure that one out.

5. Beast Mode

If you're a football fan like myself, then the first thing you think of when you look at this title is Marshawn Lynch of the Seahawks. You can kinda call this a theme song for him and for Luda (Lynch is also in the music video. See below). Anyway, production here was okay. Another beat with a crucial bass line. He isn't really talking about much however. Just spitting lyrics about random stuff. Boasting and bragging. Going into "beast mode" I guess. 

6. Viagra (skit)

One word. Hilarious. Just listen to it.

7. Get Lit

Da Internz strike again here with another thundering bass line. This has a huge radio sound and could very well be a potential next single. It's nothing really but a "turn up" song for the clubs. Talking about getting drunk/high. In fact, this has strip club written all over it. Twerk video music. Remember "How Low" from his last album? This song serves the same purpose on this album even though it doesn't solely talk about booty shaking. It's an alright song to have fun to I guess.

8. Come And See Me (interlude)

DJ Toomp has been one of my favorite southern producers over the years. Beats like this is why. Much like "Lyrical Healing", this is another minute long interlude with great production. It's pretty much the prelude to the next song.

9. Come And See Me (featuring Big K.R.I.T.)

Get ready for some serious bass. You're gonna need rand new speakers for this one. The song is about his love for cars (something he loves talking about). Now Mike Will Made-It is on the production here and it's the kind of beat you typically don't hear from him. He rarely makes these type of beats with that heavy, vibrating bass. I think Big K.R.I.T. shines most on here though. Probably the best feature on a album that doesn't have many features to begin with. Cool song. Awesome beat.

10. Good Lovin (featuring Miguel)

Here's the albums first single and one of the better rapper/singer collaborations so far of 2015. This is where the album begins to take an emotional turn as the songs become more serious in content. This song is about him reflecting back on a past relationship that led to a bad break up. At least that's what I'm guessing based on his lyrics. Miguel has quietly become one of the better hook singers in R&B and he hits one out of the park here. But overall the song is okay. Not too great.

11. Ocean Skies (featuring Monica)

Getting over the loss of a loved one is very hard to do. Especially when your so close to them. Luda's father, Wayne Bridges, passed away the night after he won the Grammy for best rap album (hence the beginning of the song). This song is a dedication to him. His father was an alcohol abuser and that's what took his life. So in a way, not only is this a tribute song, it's also an awareness song for those who are alcohol abusers as well. J.U.S.T.I.C.E. League put together a beat that most would say doesn't fit the tone. I beg to differ. It has enough energy in the drums and guitar strings to get your attention. Yet it soft enough to match the mood of the song. Now I have no problem with Monica as an artist. She's a vet who I have tons of respect for. But I don't know if she was the right person to do this hook. This needed some one with a louder, stronger voice to really bring the emotion out of it. She didn't do it too well. Nonetheless the song is cool. Those who lost loved ones recently will definitely relate.

12. Not Long (featuring Usher)

This song is exactly "emotional" or "deep", but just talks about achieving your goals and dreams. In Luda's case, making it in the rap game as well as Hollywood. This is pretty much his message to those with huge aspirations of making it big. Usher's hook pretty much says it all. Production was a little bland for my liking. Something more energetic and attention grabbing would have worked better for a song like this. Still the song is cool. But I like the message better.

13. Charge It To The Rap Game

While the rap game has it's ups, it also has it's downs. That's what this song is about. All the drama, hardships and road blocks during his time in the rap game. This is also a message he's giving to aspiring young rappers. In fact I like to think this ties in with the previous song. First telling you how to achieve your dream of making it big, but warning you of the drama that comes along with it. I like this heavy drum, clap happy beat done well by Illmind. Cool song overall.

14. This Has Been My World

So here he ends the album off on a good note. Reflecting back on his entire career. Showing how proud he is of every thing he has accomplished. Happy about the things he's done, the places he's seen, the people he's met. He's sees it as a dream where he's in his own world. That world is Ludaversal. So this song is pretty much one big champagne toast to a great life, successful career and to a better future. Congrats. 

In closing, I thought the album was okay for what it was. Ludaversal was in a nutshell, a reflection of Ludacris's career up to this point. All the good, all the bad, all the emotion and everything else in between. I give this a final grade of a C+. If there was a hip hop hall of fame, there's no doubt in my mind Ludacris would go in on a first ballot vote. Not many have been able to match his success in a fifteen year span. While you may listen to this album and this his music career may be coming to it's end real soon, that doesn't mean he'll fall off. He still an actor and a savvy business man. That alone will keep him relevant in the game. Ludaversal is here to stay. End.

Lyrics: B

Production: B-

Collaboration: C-

Originality: C-

Concept(s): D+

Final Grade: C+

CREDITS

Executive Producers

Christopher Bridges

Chaka Zulu

Jeff Dixon

Lead Artist

Christopher Bridges

Production

Lavell Crump

Marcos Palacios

Ernest Clark

Joshua Scruggs

Ramon Ibanga, Jr.

Adam Feeney

Larrance Dopson

Christopher Brown

Ronnie Jackson

Aldrin Davis

Michael Williams

Erik Ortiz

Kevin Crowe

Kenny Bartolomei

Kyle Justice

Maurice Willis

Justin Smith

Pacal Bayley

Tyler Williams

Douglas Lucas

Guy Delo

Alexander Grant

Collaboration

Justin Scott

Miguel Pimentel

Monica Arnold

Usher Raymond IV

William Roberts

Thomas Calloway

John Stephens

Jason Williams

Label

Disturbing Tha Peace/Def Jam Recordings

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Wale - The Album About Nothing ALBUM REVIEW

There are some rappers in the game who, as all around artists, are very talented. But yet, for some reason, they choose to make the kind of music that just takes away from their true talent. Making them look well...less talented. Wale is the prime example of this. There's probably not another rapper who I've been frustrated with more over these last five years. Wale lyrically is talented. No denying that. But as of late, with his last two album releases, I've just been disappointed with everything he's been doing. From the mediocre singles (R&B ones especially), to the poor production, to the lack of focus and originality. Now of course everything started out great in 2009 with his debut Attention Deficit. That album was deep, poetic, production was solid and he was actually talking about things worth listening to. But then came the  Maybach Music contract which lead to 2011's Ambition. An album that was nothing but one giant, desperate reach for radio success. Mediocre production, poor hooks and countless R&B features and/or love songs. Then he would follow that with 2013's The Gifted which was much worse. I honestly can't even remember one quotable line from that album. It also featured "Clappers". One of the worst singles to come out that year. So knowing all of this, I of course expected the worst when it was time for this. His fourth album The Album About Nothing. Ambition was strike one. The Gifted was strike two. I hoped and prayed that Wale would not strike out here. That he would finally give the fans the Wale they really want to hear. Well, it's with a huge sigh of relief that I can finally say, the old Wale is back! I was very pleased with this album. Wale got back to doing what he does best. Being deep, being poetic, being introspective and delivering a handful of social commentary. This album he gets just a little bit more personal when talking about life after his MMG deal and such. As you can see, there's a theme. We all know Wale is a huge Seinfeld fan and on this album he gets Jerry Seinfeld himself to kinda narrate the album throughout. As well as mix in dialogue from the actual show. Of course this isn't new. Wale had two mixtapes with this same theme with the Seinfeld snippets. Just this time, he finally got the man himself on the album and he helps it out a lot. Although the production is a little weak and there are still a number of singers featured (four out of five features are singers), as well as songs for the women, the content of his lyrics and his messages out shine that heavily. Let's get to the break down:

1. The Intro About Nothing

So this song starts with Wale and Jerry Seinfeld entering the studio preparing to get started with this project. The production is very soulful and religious sounding. It starts off soft and somber with piano keys. Then as it gets to the hook it gets louder with the tambourines, organs and the choir. Reminded me a little bit of a track he had on the last about called "Golden Salvation". It sounds like he is giving the meaning behind this album's title. Which is how people don't care nothing about good albums today. So he made an album about "nothing". That's just an assumption though I'm not too sure. Cool intro nonetheless.

2. The Helium Balloon

If you like analogies you'll like this. This song is one big analogy. Wale compares himself to a balloon. In a sense where his music "lifts" people up. Just like a balloon when helium is put in it. Or, you could look at as the fans being the balloon and Wale's music being the helium that lifts them. Then, Jerry Seinfeld explains how when a kid has a balloon, he doesn't wanna let it go but at the same time he does. I think this possibly means Wale family and friends at home (the kid) don't want to let Wale go. But at the same time they do because it's what he wants to do and what he loves and they support him. An interesting analogy to say the least. Production is kinda okay. Has a few trap-like drums but at a more laid back pace. Cool song with a interesting concept.

3. The White Shoes

This song went over my head a few times. This pretty much talks about the sneaker heads of today. First off, Jerry tells a story to Wale about his white shoes. How they can bring positivity to the person who wears them. Wale talks about the opposite of this. He talks about how those who are poor and/or lack confidence spends all their money on shoes just to appeal to others. To look as if they are "ballin" like that and to boost confidence. It was also causes them to become poor or broke by spending so much on shoes. I think this song is right on time because the sneaker head population is at an all time high today. Most of them fit this description in this song. The irony is, Wale is a sneaker head himself. Anyway, production here was a little weak for me. Not much life in it at all. Okay song overall.

4. The Pessimist (featuring J. Cole)

Pessimist: A person who habitually sees or anticipates the worst. That's the role Wale is playing on this song. Wale takes a look at certain things from a pessimistic view and how they effect the black community negatively. From the music, to social media, to reality shows. He apparently has grown "hopeless" about it and seems to be giving up on having any faith. The production has a soulful feel as well with the strong organs and pianos. I am a little bit disappointed that J. Cole is only on the hook. I would have love to heard him spit on this. I guess Wale didn't want him to kill him on his own track again like he did on "Beautiful Bliss". Anyway, another song with a cool concept.

5. The Middle Finger

The title should speak for itself. This song is nothing but Wale in his feelings. Upset about what the streets, the media and his hip hop peers have to say about him. Believing he's being disrespected. So this song is one big "fuck you" to them (just listen to the hook). But again, this yet another barely decent production. It's not laid back but it definitely not as energetic as it should be. But let me stop because to his logic, I'm sounding like the people this song was made for. 

6. The One Time In Houston

This was the first song that I quickly pressed the repeat button on. Mostly because of the production which was probably the best on the album. Pro Reese definitely put his foot in this production with it's thumping bass line and laid back trap styled drums. It samples New Edition's "If It Isn't Love". Even Wale's hook was cool and very catchy. It's a chopped and screwed hook, which of course pays homage to Houston's hip hop scene. The song talks about the lust over women in Houston. The city is known for having some of the finest women....well strippers/groupies in this case. How they are so bad that it's enough to make him move to Houston and wife one up. Totally negating the fact that their strippers and possibly hoes and/or thots. Anyway I enjoyed this song a lot. One to add to the "bump in  the whip" play list.

7. The Girls On Drugs

Here's another pretty good production. I like the bass line and how it slowly builds up to the trap style drums. I also liked the looping Janet Jackson sample which gives it a bit more soul. Props to No Credit on the beat. The song talks about females who deal with emotional stress by taking prescription drugs or by drinking. He did a song similar to this on his debut called "90210". This reminded me of that. Anyway, some already know of this song because it was feature on a previous mixtape of his. Again, another song where the message shines most. 

8. The God Smile

This one I had a lot of trouble figuring out. I initially thought this would be something dealing with religion or faith but I don't think it's that at all. Based on what I'm hearing him say, I'm guessing this is some kind of self confidence anthem? I'm not entirely sure. But anyway, the production was alright. The tribal like chanting in the background gave this a kinda island feel. Alright song overall.

9. The Need To Know (featuring SZA)

Normally I get annoyed with Wale and these constant love duets with R&B singers (and I still do). But this one I gotta say was top notch. The song is about how nosey people want to know what's going on between certain couples. Are they friends? Are they dating? That kind of thing. The two want to be more than friends and want to be together. But act as friends among the public. I can't help but think this is for all those celebrity couples who try to hide their relationships from the public/media. As well as for the fans who follow their every move trying to figure out whats going on. I think SZA stole the show here. I love her voice on this hook. As well as her looping vocals over the solid production. Nice song overall. Even though this has single written all over it. It will go great with his other 100 R&B songs on the radio now.

10. The Success

Now here we get more of that soul sound. The production is filled with gospel samples from a choir, organs and hand claps. Nicely done here by Jake One. Now the meaning of this could be one of two things. The good and bad of gaining success (considering what Jerry said at the beginning of this), or Wale's rise from basically nothing to obtaining instant success. I think this song can be looked at from both views. It's all about what you hear. 

11. The Glass Egg

This song probably has the most in depth analogy on the whole album. Following the track "The Success", Wale talks about here the difficulties of maintaining the success. They say it's easy to get it, but keeping it is the hard part (Dr. Dre said this to Kendrick Lamar on To Pimp A Butterfly). Trying to balance family, friends, women, money and your music all at once without breaking or changing who you are and how you act towards certain folks. Now the difficult thing for me was figuring out how this ties in the title. Here's my guess: A egg itself is very delicate. It's even more delicate and fragile when it's a glass egg. The glass egg represent every thing Wale is trying to balance during his success. The money, the women, family, friends etc. They are in this case considered fragile too and should be handled with care. If you can't maintain all of that and keep it upright, you'll lose it all, it will fall and your success will shatter. Just like a glass egg if you don't properly handle it. I love the emotion within the production and especially the two samples of Isaac Hayes and Groove Theory. It helps get this great message across perfectly.

12. The Bloom (AG3) (featuring Stokley Williams)

Here we have another uplifting song for the ladies. This is part three in the "Ambitious Girl" trilogy. In this song, the girl I guess he's involved with, he sees as a beautiful blooming flower. He doesn't want to see her struggle with things like work, school, self esteem among other issues. He wants to take her away from that stress. Telling her he wants to take her places, show her things. Help her to just enjoy life and "be free" as Stokely Williams says on the hook. I'm willing to bet many young women will gravitate to this song because many of them are waiting for that one man that can't take their stress away and make them happy. The production is very instrument heavy. From plenty of horns, to pianos, to drums. It samples a hip hop favorite "Impeach The President". While the song is not bad, this begins the string of love songs with R&B singers that Wale notoriously throws at us. 

13. The Matrimony (featuring Usher)

Here's the second one and the second single of the album. It's basically talking about Wale being ready for commitment. How he's trying to convince his girl that even though he's a celebrity and has done dirt in his past, he's ready to change and be with her forever. What I like the most is Jerry's view of marriage that he tells Wale in the beginning. He describes it as being a roller coaster. It starts off slow and every thing is cool. The engagement is the very top of the roller coaster and the drop is the marriage. In which you start screaming. It's meant to be funny but it makes so much sense. Even when someone plans to get married, they deep down probably wasn't ready. Just like they made plans to ride that roller coaster but wasn't ready for that drop. Yet another amazing analogy. The song itself is just average to me though. 

14. The Body (featuring Jeremih) [BONUS TRACK]

This album ends with it's first single. I don't know why he made this a bonus track when there are other songs that should have been bonus tracks instead. Anyway, this is nothing but Wale taking an R. Kelly classic and making it his own. Describing the beauty of a woman's body and comparing it to a nice looking car. I just think that's silly honestly. I didn't like when R. Kelly did it and I damn sure don't like it here. What woman would be turned on hearing a man tell her that she reminds him of his whip? This is just another simpified R&B assisted track to add to Wale's mile long arsenal of them. Even in context with this album I still don't like it.

In closing, The Album About Nothing for me, is my first big surprise of 2015. It pleases me so much to see that Wale listened to the critics, to his fans and everyone else and got back to what he does best. What gained him popularity and got him a MMG deal in the first place. Great theme, messages, deep poetry, and brain teasing analogies. I give this a final grade of a B. All I can think about is if Ambition and The Gifted went down the same direction as The Album About Nothing, Wale would have one of the most impressive discographies in hip hop today. I'm glad he realized that's this is the MC he truly is. He's not the guy  that made all those R&B duets, he's not the guy that made "Slight Work" or "Clappers", He's the guy that made "The Helium Balloon", "The Glass Egg" and "The Pessimist". Hopefully he never goes back to that. He had two strikes, but he didn't strike out. He knocked it out the park. Finally giving us a top notch album. An album about...something. End. 

Lyrics: B+

Production: C

Collaboration: C

Originality: B

Concept(s): B+

Final Grade: B

CREDITS

Executive Producers

Olubowale Akintimehin

William Roberts

A&R

Brock Korsan

Dallas Martin

Lead Artists

Olubowale Akintimehin

Production

Julian Gramma

Dacoury Natche

Sonny Uwaezouke

Reese Cummings

Osinachi Nwaneri

Dave Bayley

Robert Williams

Jacob Dutton

Alex Fonseca

Julian Nixon

Craig Balmoris

Khalil Rahman

Kenneth Coby

Collaboration

Jerry Seinfeld

Jermaine Cole

Solana Rowe

Stokley Williams

Usher Raymond IV

Jeremih Felton

Label

Maybach Music Group/Atlantic Records

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Copyright 2015. Mic Navarro's Corner.

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Action Bronson - Mr. Wonderful ALBUM REVIEW

For the last five years, Action Bronson has been a fan favorite among underground hip hop heads. You would often hear his name and see it here and there. So I of course had to see what the hype was about. Immediately I could see why people liked him. His cool, laid back, throwback flow makes him sound like he's straight out of the 90's. His voice has gained him many, many comparisons to Ghostface Killah. Sounding very similar. Not to mention his wittiness and humor when it comes to things like sex and food. If you ask his fans every project from him is heavily anticipated and that's no different this time around. This is his second album Mr. Wonderful. His debut album, 2011's Well-Done, was good and I enjoyed it for the most part. But it was his mixtape Rare Chandeliers that I enjoy the most out of any of his projects. He's not someone who switches up what he does with each release so I went into this album expecting the usual. Well I got than...and a little bit more. I thought this album was good but not great. Again you get the usual: the witty lyrics, usual humorous content and so on. But the big difference comes in the albums production. It sounds like Action Bronson may have listened to a lot of jazz and blues while recording this album. That sound is heavily involved with this album. It's an even more laid back approach from him and something a lot of his fans aren't used to hearing. I'd like to think he's just experimenting but this sounds like something he may stick with from now on. Now, let's begin the break down:

1. Brand New Car

This intro grew on me after a few listens. The production is what grew on me really because I was on the fence about it at first. Mark Ronson puts together a pretty good piano heavy production. Which of course plays right into this jazz/blues theme Bronson has going with this album. It samples Billy Joel's "Zanzibar" which Bronson said in an interview was one of his favorite songs. The track overall gives a somewhat of a happy energetic vibe to kick off the album with.

2. The Rising (featuring Big Body Bes)

Action Bronson and Statik Selektah did some great things together on the Well-Done album. Well there back together on this albums and it begins here. This track has a energetic gospel sound with the pianos, distinct organs and a choir in the background vocals. As I mentioned he brings a lot of wittiness and humor and it shows here: "My mother said I better win or else she'll fuck me up/ma we made it, I love you you lucky slut". Who else can get on a track and call their mom a slut and make it sound hilarious. That's so Action Bronson. Big Body Bes's verse was really nothing but him just talking a whole lot of shit. He didn't rap or anything, it was just talking. I mean I wasn't too bothered by it but some rapping there would have been nice.

3. Terry

Here he links up with one of my favorite producers in the game, The Alchemist. The production here was dope and multiple dope samples. It sounds like he's talking about a chick he was messing around with that was an addict. Especially in the beginning lines and a few more after. I'm probably looking too deep into that and I might be wrong but that's just my assumption. Especially considering the song title. Dope song thought overall.

4. Actin Crazy

This was the second released single from the album. I was really digging the production here. It's a simple yet very catchy head knodder. It's produced by 40 who you know does 90% of Drake's music and really doesn't work with too many other people outside of him. So it was quite a surprise to see him working with Action Bronson. Again nothing special lyrically. He just kicking rhymes about everyday stuff that interests him. He does that on a lot of his songs. Cool song.

5. Falconry (featuring Meyhem Lauren and Big Body Bes)

Here The Alchemist comes through yet again with another banger. I like the catchy tempo of it. Reminds me of one of the more older Alchemist joints. Meyhem Lauren dropped a pretty cool guest verse while Big Body Bes is doing the same thing he did on the other song...just talking. This time I felt like he wasn't really needed on this track. 

6. Thug Love Story 2017 The Musical (interlude)

7. City Boy Blues (featuring Chauncy Sherod)

Now here is where the album does a complete 360. What he have here is not a hip hop song at all. This is a straight up blues song. Majority of it is just an instrumental that sound straight up like Sunday afternoon jazz. The song is produced by both Party Supplies and 88 Keys. Then that's when you start to hear the blues vocals from Chauncy Sherod. I believe the previous interlude sets up the songs that follow it. They both have this same sound (except for the last). I can't decide if I like this or not. It's different and Bronson has stated before that he likes this type of music. It will have to grow on me.

8. A Light In The Addict (featuring Party Supplies and Black Atlass)

Now this one has an even stronger jazz/blues sound. More so blues than regular jazz. The song begins very dramatic like with the soft pianos, distinct vocals and the sound of rain hitting the window. The bass line however has a bit of a hip hop feel. The hook has both Bronson and Black Atlass singing on it. Obviously he's no Luther Vandross, but thankfully Black Atlass was there to pick that slack up. Though Bronson has said he's influenced by this sound, it just sound like he's doing a bit of introspective experimenting with these songs. This one actually grew on me. We'll just have to see how other fans respond. 

9. Baby Blue (featuring Chance The Rapper)

This is the third song in this three part musical. It's by far the catchiest, most radio friendly song on the whole album. The production is happy, it's jumpy and very addictive. Huge props to Mark Ronson for this one. The song is basically an anthem lashing out at women who do men wrong. The cheaters, jealous ones and all of that. Chance The Rapper, who had Bronson on his Acid Rap mixtape, comes through with not only an incredibly catchy hook, but the most hilarious verse so far of 2015. He said things like "I hope every soda you drink is already shaken up", "I hope your titties all saggy in your early twenties", "I hope you never get off on Friday and you work at a Friday's that's always busy on Fridays". I mean I was literally in tears. I guess this song is supposed to be the grand finale of this three song "musical". Which is why it doesn't have the same soft jazz sound. Love this track. 

10. Only In America (featuring Party Supplies)

Okay we're now done with "the musical". Now here we get another taste of genre blending experimenting. The production has this funky electric guitar that sounds like 80's rock. Rock beats in hip hop are often hits or misses and this one was a hit. I like it. Props to Oh No on the production. I gotta say though, I was a little let down. He talks about so much stuff that I thought he would use that and play into the whole "only in America" theme. Speaking on the crazy stuff going on in the country from what he sees. But who am I kidding. That ain't his style.

11. Galactic Love

Well after going on this little genre blending roller coaster, things finally calm down here. This has this really smooth, relaxing beat that still had a little bit of jazz blended in it. Another one in the win column for The Alchemist It just has a sound of like...vacation at the beach. The hook is him on the phone with his actual moms. I thought that was pretty cool considering what he said about her earlier in this album. But overall this song is okay.

12. The Passage (Live From Prague)

This sounds like yet another long instrumental. But you can hear distinct vocals from Bronson singing "Mr. Wonderful" over and over. I was left scratching my head hearing this. But after doing a bit of research, I found out what this is. It's him live at a concert he had in Prague, Czech Republic. He says this is basically, to sum up his words, the intermission before the big grand finale (the outro in this case). It sounds very psychedelic and trippy which I'm kinda shocked he didn't dabble more into on this album. He has in the past. Still though, I can do without this.

13. Easy Rider

The album ends with it's first single. Party Supplies puts together another funky guitar assisted beat. It's a calm production but yeah live enough to jam out too. He sums up everything he has experienced up to this points and drops it into this song. Most of it is stuff he already spoke of on this album. He's got comedic lines all over this album and I didn't mention a lot of them. But he makes sure he closes out with a few more: "I had dreams of fucking Keri Hilson in my Duncans/woke up naked at the Hilton with a bitch that look like Seal's cousin". The song ends with a dope guitar rift and the roaring of a motorcycle. The beginning of him riding off into the sunset as the hook says. Cool way to close out this album.

In closing, Mr. Wonderful may catch a few off guard, but the album is definitely a solid project. He took a risk with the heavy jazz/blues/rock influence throughout, but I think his fans and even first time listeners will gravitate more to it down the road. I give it a final grade of a B. There's no denying Action Bronson is one of the top dogs in hip hop's underground division. Not many other undeground MC's have been as consistent as him over these last few years. Delivery quality projects that give us all nostalgic feelings of the 1990's due to his voice and flow. I think he's one of those rappers that shouldn't remain under the mainstream radar. I wouldn't want him to sign a major deal and have to change what he is doing. What he's doing now is perfect. Let's keep it that way Bronsilino. End.

Lyrics: B+

Production: B

Collaboration: C

Originality: B+

Concept(s): B-

Final Grade: B

CREDITS

Executive Producer

Arian Asllani

Lead Artist

Arian Asllani

Production

Mark Ronson

Patrick Baril

Alan Maman

Noah Shebib

Sidney Brown

Antoine Baldwin

Charles Njapa

Justin Nealis

Sean Mahon

Michael Jackson

Collaboration

Besnik Sadikay

James Rencher

Chauncy Sherod

Alexander Fleming

Chancellor Bennett

Label

Goliath/Vice/Atlantic Records

Mic's Mixtape Of The Week

Nipsey Hussle

Mailbox Money

Available now on DatPiff

Mic's Web Chick Of The Week

Slim Snow

Bronx, NY

Instagram: @berry_unique

COMING SOON...

Copyright 2015. Mic Navarro's Corner.

micnavarro.blogspot.com

@mic_navarro on Instagram

Kendrick Lamar - To Pimp A Butterfly ALBUM REVIEW

Welcome to hip hop in 2015. You have your party rappers, your trap rappers, your swag rappers, your EDM rappers, there's your hip hop/R&B hybrids, and then...there's Kendrick Lamar. I have to say him separately from everyone else because at this point, no one else is in a class with this man. No one has taken hip hop and grabbed it by the throat the way Kendrick Lamar has done. It's more than just his outstanding lyricism that separates him from the pack. It's his voice, his flow, his delivery, his words and his knowledge. Not to mention his confidence and bravery as he displayed on that controversial "Control" verse. Normally rappers similar to Kendrick (which there are very, very few) almost never make it big. But somehow he managed to do what was right to be a household name in hip hop but at the same time maintain that title as a top tier lyricist in hip hop. Needless to say, the world has been waiting in anticipation for this here. His second album To Pimp A Butterfly. I shouldn't have to explain why this is so anticipated. Look at his previous projects. His 2011 digital album Section.80 was easily one of the best projects that year. It's was garnered him attention from the masses. But he would greatly out do that with his 2012 debut Good Kid, Maad City. An argument can be made that GKMC is the best debut hip hop album probably since Get Rich Or Die Tryin. It's already considered a west coast classic by many. So the question is...how on earth could he possibly follow such an epic debut? Seems almost impossible. Well...he did it. To Pimp A Butterfly exceeded way past my expectations. Now obviously the lyricism and flow is all there, but this album is all concept and theme. The album's concept and topics throughout revolve around many issues involving race, politics and injustice among minorities. Race especially. Detailing things that's going on today, hip hops role in it and how we can all fix this to better the future. Now many people were kinda caught off guard by the sound of this album. Majority of the production sounds very 1970's disco/funk inspired. Which makes sense considering the 70's is considered the blaxploitation/pro-black era which is also talked about on this album. It also explains the impressive guest features of artists who make music in this field. Not to mention, that era's sound also influenced many classic hip hop albums, like Snoop Dogg's Doggystyle for example. This is just another well put together concept album just like GKMC. Okay no more wasting time, here's the break down:

1. Wesley's Theory (featuring George Clinton and Thundercat)

This album begins with Kendrick speaking on black folks (specifically black celebrities) and their mis-management of money. The ones that splurge with their money but are constantly ducking paying their taxes. This also goes on to talk about how the industry and the government "pimps" these celebrities into taking their money. The song's title is named after Wesley Snipes. He committed tax fraud throughout the 2000's and served a three year jail sentence (2010-2013). Now as I mentioned in the intro, this albums sound is 70's inspired and it starts here. This production sounds like vintage electric funk. The  with the vocals of the legendary George Clinton and Thundercat, it's almost like stepping in a time machine to 1975. Excellent song.

2. For Free? (interlude)

I normally don't break down the interludes but this one I had to because of the concept. Here, you hear what sounds like some loud ratchet ass chick cursing out Kendrick. "Broke ass nigga" this "ain't shit nigga" that and so on. This girl actually represents the industry. Angry because she's trying to pimp the artist (Kendrick) into giving her his money but Kendrick is refusing. It ends with her saying "I'ma get my Uncle Sam to fuck you up". That part you can figure out on you're own. 

3. King Kunta

This is the first song that I fell in love with from this album. Immediately hitting the repeat button. The production is outstanding. Another vintage funk/disco sounding beat with hard drums. It sounds like something you would hear on a soundtrack for a 70's blaxploitation film. Then it samples two funk era classics: James Brown's "The Payback" and Parliament's "We Want The Funk". On this song, he compares himself to Kunta Kinte but not as you may think (Google him if you're not familiar with him). He changes the name to King Kunta because it represents the lowest point (Kunta, slavery, poverty) and highest point (King, freedom, wealth) of one man...himself. It also represents Kendrick's rise from the poverty stricken ghetto feeling like a slave, to a life of fame and one of hip hop's top voices. 

4. Institutionalized (featuring Bilal, Anna Wise and Snoop Dogg)

Here's the first song that took me a few listens to understand it's meaning. When you look at the title, you think prison right? Well...kinda. This is another song about the evils of money and wealth. How things like violence, greed and envy are caused by the "institution" of money. This also talks about the ways both the rich and the poor are institutionalized. The poor are institutionalized literally in prisons and even in the streets. While the rich are institutionalized by their wealth, power and nothing but the dollar sign. This song could be interpreted many ways depending on how you listen to it. This is just how I hear it. The song has a very laid back psychedelic sound. Kendrick raps with a very low toned and whispering like voice which matches the smoothness of the beat. 

5. These Walls (featuring Bilal, Anna Wise and Thundercat)

Boy the complexity in this song is overwhelming. First of all I was a little deceived by the title. I thought this would be a continuation of the previous track. Seeing as how both titles could possibly mean the same thing. I was right...sorta. The song mostly revolves around sex. There are two sets of walls being talked about here. The first is the walls of a woman's vagina. Kendrick is using his celebrity status and his fame to lure this woman into having sex with him as he describes what the walls (vagina) is saying to him. But here's the kicker. The woman's baby father is in prison. He is responsible for the death of a friend of Kendrick. So this is Kendrick getting revenge. Those other set of walls are indeed prison walls surrounding the baby father. Telling him what's going on with his baby mother. In a way, this song plays the same role as "Poetic Justice" did from the last album. Although not as "lovey dovey". Great song though. Love it.

6. u

Here we see a side of Kendrick that we're not used to seeing. Going through anxiety and having insecurity and self esteem issues. There are two different voices Kendrick uses here. The first is his inner self talking to him. Telling him how he knows deep down he's insecure. He's losing confidence. How he's basically rattled by his haunting past and is letting it get to him and interfering with his music. Making him weak. The second voice is Kendrick himself talking back to his inner self. But Kendrick changes his voice to sound like he's drunk and crying. Trying to blame all that has happened to him on his inner self and that he's not a "fucking failure". His conscious. This song is actually the prelude to the single "i" which I'll talk about later. I like how the beat changes up between both voices giving more emotion to both. A very powerful song and a song I'm sure Kendrick probably had a tough time writing without getting emotional.

7. Alright

Following a song where Kendrick opens up about his demons and his burdens, this song comes right on time. The song talks about no matter what your going through emotionally or what obstacles stand in your way, everything is gonna be alright. Just be happy, shake it off, and let God take care of it. Kendrick is trying to escape these troubles that haunt him and be happier. But at the same time he understands that things happen for a reason. Sometimes you'll have to overcome tough obstacles to gain peace and happiness. It's part of God's plan. This song actually has single potential with it's mainstream sound in the production and Pharrell's catchy hook. 

8. For Sale? (interlude)

Well first of all, this will go down as the longest interlude ever made. It's pretty much a full song at almost five minutes. Anyway, on this song Kendrick goes more in depth with this character by the name of Lucy. In the beginning of the song he's running from this character trying to escape. He talks about how Lucy is a liar. Tries to bribe him and deceive him. As well as tempting him with in this case a contract signing where they can tell him to do whatever they want and he must. It was at this point where I realized Lucy must be the devil. Lucy being short for Lucifer. The record label CEO in this case is Lucy and is trying to trick Kendrick into believing that you must flaunt your money and wealth at all time. In short, he's basically just showing how corrupt record labels really are. They use and deceive their artists and fill their heads with lies just to benefit them in the long run. A story we've heard time and time again. I do like this song though and how it falls perfectly in line with the "For Free" interlude.

9. Momma

So now it appears Kendrick is trying to collect himself and return to a peaceful place to clear his mind and rid himself of the evils of Lucy. That peaceful place is home. Now to me, "home" could be a number of places. Compton, his mom's place (hence the title), Africa (which also goes with the title. Africa was an inspiration for a lot of this album as well), or peace within himself. It all depends on what you hear. I do like the sound of this song as well. More specifically it's tone. It has acoustic like neo-soul sound. It sounds very relaxing, calming and well...peaceful. Which matches his emotions here. Props to Knxwledge and Taz Arnold on the production.

10. Hood Politics

Okay now there's a lot I'm getting from this song. This sounds to me like he's giving you a look at what goes on in his hood when it comes to certain topics. Topics people in the hood are discussing. Two of those main topics of discussion are American politics and the rap industry. He talks about American politics in the second verse while talking about the rap industry in the second (mentioning the controversy he created with his verse on "Control"). Now he again changes his voice up to a higher pitch. I think he did this for one of two reasons. He could be displaying the immaturity of people in the hood when it comes to these topics. Imitating how they sound. Or, he could be flashing back to his youth and imitating how he and his homies used to sound back in the day. This beat is an excellent mixture of the funk and hip hop sound. Probably the best on the album. Props to Tae Beats. Dope song.

11. How Much A Dollar Cost (featuring James Fauntleroy and Ronald Isley)

There seems to be a lot going on here too. To the point where it took me almost five listens to even make an assumption as to what's going on. It appears that Kendrick is approached by a homeless man asking for a dollar. Kendrick refuses numerous times after the man keeps asking. Kendrick then gets in his car and thinks about it feeling a little bit guilty. The homeless man comes to him again asking if he's read a certain bible verse about being humble. Kendrick gets very angry with and that's when the man reveals who he really is...God. Deep. Now I could be wrong about that but it does seem to makes sense. Nice song.

12. Complexion (A Zulu Love) (featuring Rapsody)

This one is pretty easy to figure out. It kinda delivers the same message "i" does. Self love. Kendrick talks about the importance of black people to love their selves regardless of their skin tone. Also how just because one person is lighter or darker than the other doesn't make them different in any way. We are all black. If you look around on social media, there's a lot of light skin vs. dark skin wars that go on and that could be the very influence for this song. Rapsody was without a doubt my favorite guest feature on this album. I often call her a female version of Kendrick Lamar and her incredibly dope verse proves that. Great song and great message.

13. The Blacker The Berry

Now comes the controversy. First off, I love this hard hitting production that sounds 100% hip hop without the funk/soul influence. Big props to Boi-1da. Now when this song dropped, the Internet went insane. While majority of this album talks about self love and being happy, this song talks about racialist self-hatred. Being angered towards black people for their hypocritical ways when it comes to racism. Even more angry to them than to white people. But here's where the controversy comes in. Towards the end, Kendrick calls out black people of today. Calling them hypocrites for weeping, protesting and marching for people like Trayvon Martin and Michael Brown. But won't do the same when there's black on black violence. Mad at the police (or white racists) but aren't the slightest bit upset with your own people. Kendrick seems to be the opposite. This rubbed a lot of people the wrong way and Kendrick took plenty of heat for it. Not taking his side but he does make a valid point. All violence against innocent, un-armed African Americans is wrong. Regardless of who pulled the trigger. This song almost takes a Malcolm X like approach to racism and injustice. 

14. You Ain't Gotta Lie (Momma Said)

Ever heard that saying "the loudest one in the room is the weakest one in the room"? Well that's pretty much the bottom line of this song. It talks about the negative place celebrities can find themselves if they don't reach a certain level of success. But at the same time, remaining low key and unknown enough to go anyway without garnering a ton of attention from on lookers. The hook says "you ain't gotta lie to kick it my nigga". Meaning that when your around your own people from your hood, kicking it with friends and family, you don't have to lie about you're money or you're power. They understand what it is you do for a living and you don't have to act a certain way so you don't feel like you're intimidating them or "looking down on them". That's my assumption. Again I could be wrong but nonetheless, this song is cool.

15. i

"The Blacker The Berry" takes the Malcolm X approach, this song takes the Martin Luther King approach. Here's the first single that everyone had mixed feelings about when it first released. It is the ultimate anthem of self love. Loving yourself, respecting yourself and being happy. Regardless of any negativity that others may throw your way. While this song is the total opposite of "The Blacker The Berry", it's also part two to "u". Where Kendrick was at first upset with himself and having esteem issues, to now being completely happy with himself. Now this version of the song is actually the live version. Not the version you hear on the radio. I questioned it at first but it makes sense. Him performing this song better shows his happiness, joy and energy as he communicates with his audience. Then he goes in at the end breaking down his definition of the word "nigga". I won't give that away. Just listen...it makes total sense.

16. Mortal Man

Recently Kendrick visited South Africa, and you can definitely hear the influence from that trip in this amazing song. Kendrick realizes that he's not only the voice of this new generation, but the new voice in long line of black leaders. From Nelson Mandela, to Martin Luther King, to the man he interviews and the end of this track...2Pac. Throughout this whole album, between some of the songs, Kendrick reads parts of a poem that reflect everything that's going on on this album. Here he recites the full poem and we find out he's sharing this poem with Pac. While asking Pac for advice about maintaining humbleness and making it through this industry. Pac basically tells him to reach out to the youth. Teach them, guide them into changing the world. Becoming the next few in the line of black leaders. At the very end, Kendrick reads another poem to Pac. This one breaks down the meaning of the albums title. Which I won't go into because it's a lot. A powerful song and triumphant way to end this album.

Well, in closing, Good Kid Maad City may win in the production department, but To Pimp A Butterfly excels in every other category. I am blown away by the concepts, the themes, the messages and the sheer intelligence behind these powerful songs. I give this a final grade of an A. There are so many bottom line morals you could take from this album. None would be wrong. Here's mine. In the wake of so much recent racism and police brutality among innocent African Americans, it's important to stay strong and not only love yourself but love each other. You've heard people say "black people need to stick together" right? Well that's not just a cliche saying. We do. We have to love, respect one another if we want racists and people who are evil towards us to respect us. But most importantly, be happy. Enjoy life. Enjoy the little things. Family, friends etc. If you're a celebrity, enjoy the fame. Enjoy the time with fans and the people who love what you do. Now I'm not trying to preach some "we shall overcome" type stuff to you. All I'm saying is this. If you want change in this country, change within the industry, change withing your life, it starts with you taking a step forward. Sam Cook said "a change is gonna come", and if you take that step then by God's will, it's gonna happen. Amen. End.

Lyrics: A+

Production: B+

Collaboration: A

Originality: A

Concept(s): A+

Final Grade: A

CREDITS

Executive Producers

Andre Young

Anthony Tiffith

Lead Artist

Kendrick Duckworth

Production

Steven Ellison

Ronald Colson

Mark Spears

Stephen Bruner

Terrace Martin

Columbus Smith III

Tommy Black

Larrance Dopson

Taz Arnold

Michael Brown

Pharrell Williams

Sylvester Stewart

Donte Perkins

Josef Leimberg

Matthew Samuels

Stephen Kozmeniuk

Collaboration

George Clinton

Stephen Bruner

Bilal Powell

Anna Wise

Calvin Broadus

James Fauntleroy

Ronald Isley

Marlanna Evans

Label

TDE/Aftermath/Interscope Records

Mic's Mixtape Of The Week

Nipsey Hussle

Mailbox Money

Available now on DatPiff

Mic's Web Chick Of The Week

Slim Snow

Bronx, NY

Instagram: @berry_unique

COMING SOON...

Copyright 2015. Mic Navarro's Corner.

micnavarro.blogspot.com

@mic_navarro on Instagram