He Stays Dipped Like Sour Cream

I haven’t written a Beat Generation column at The Passion of the Weiss since Kathryn Bigelow was known strictly as the director of Point Break.  To be frank, there wasn’t much to get excited about that Team Passion wasn’t already nailing down on a weekly basis. 

Enter Marcberg, the debut album from Roc Marciano, currently every emcee’s favorite emcee.  I’ve had entiretext message convos with other rappers where we only quote Roc Marci lyrics.  That’s the mark of an artist who is setting the world on fire: when other craftsmen in the same field are reduced to fan boys again.  This must be how Tarantino and company felt when they watched There Will Be Blood for the first time.  I couldn’t go another week banging this album in the whip and cackling like a crackhead who found a shopping cart full of tube socks without writing something.

Head over to Passion of Weiss to read my piece on Roc Marciano’s Marcberg.

PS the more I listen to this album, the more it reminds me of LA the Darkman’s Heist of the Century.  Forgot to mention that in the piece.

A Winter Mixtape

Over at the motherland Passion of the Weiss, the Treasurer of Getting Montreal Ass, DJ Sach, whipped up a superb blend tape for these snow caked days here in Philly titled “A Winter Mixtape”.  Select tracks from Boards of Canada, Bjork, Mobb Deep, the Chi-Lites, the Grateful Dead–hell there’s even an instrumental from my Shadowboxers brudda Douglas Martin aka Blurry Drones on that puppy.

My submission and write-up for the mix is Wu-Tang’s “Jah World” featuring Junior Reid.  That joint reaches its maximum potential when played under a sheet of slushy ice in the dead of a February.  Check it out!

UPDATE

GQ likes my Wu-Tang submission “Jah World” for Passion of the Weiss’ Winter Mixtape. Time for an afternoon scotch.

This is the coolest moment of the new decade for me! Oddly enough, I was thumbing through my old GQ’s during lunch break today to find this recipe for an ill Beer Braised Beef.

I’m on TV Talking Like It’s Just You and Me

I remember before Kanye West’s Graduation dropped, when he was in the battle for first week sales with 50 Cent and his LP Curtis two years ago.  I told anybody who would listen that Kanye would be victorious for the simple fact that every time he drops an album, there’s a story behind it.  Curtis Jackson was chiefly concerned with you treating his dick like a Pixie stick or a roller skating rink or some other kid’s delight.

Kanye had a lot riding on Graduation.  He was mainstream now after “Gold Digger”, his national lambasting of George Bush, and some truly remarkable Grammy moments (I dont’ care what anybody says, this outfit was fucking KILLER minus the taco meat of course).  He had been the Renaissance Man for vets like Common, Twista, and Jamie Foxx whose previous releases were almost allergic to Soundscan.   And his Big Brother Jay-Z was officially retired.  Graduation could’ve been titled The Man Who Was To Be King.

Can you believe it’s been 2 years since “Can’t Tell Me Nothing,” “Stronger”, “The Good Life”, and “Flashing Lights” came out and yet they’re still selling the Stiles from Teen Wolf glasses Kanye promoted at Target right now?  I still listen to “Good Morning” every time I go to the gym to get the blood flowing.  I still get goosebumps when “Big Brother” finishes the album.  Graduation isn’t perfect as I say in my write-up, but it’s not too far off.  But Kanye says it best: This is my dissertation, homie this shit is basic, welcome to Graduation.

The Top 10 Hip Hop Albums of the Decade at Passion of the Weiss

Whatchu Gon’ Do Today? Just Say, Hey I Wanna Get Paid

Here’s a brief account as to why Slum Village’s Fantastic Vol. 2 is just DAT SHIT!  Last week we were at the Lizard Lounge banging out a proper jointage when this album came up in conversation after talking about the late Baatin (RIP).  Three guys all went BONKERS when Vol. 2 was just merely just whispered. 

Here’s the background on these three men: 1 MC/producer from Philly who is akin to Nas and Lupe Fiasco, 1 MC from Camden who is akin to Busta Rhymes and Method Man, and yours truly, a South Philly MC/producer who looks like Ben Affleck in “Chasing Amy”.  Our collective backgrounds on the surface have little to no connection.  Our styles are wholly separate but individually dope.  We are all different ages.  And we have spent our lives raised on the east coast boom bap.  With all that said, Fantastic MOTHERFUCKING Vol. 2 had us smiling and laughing and yelling and reenacting the ritual of driving around banging “I Don’t Know Why” with a shorty that you truly didn’t know why the fuck you were fucking with her.

Read up on Slum Village’s Fantastic Vol. 2 and Reflection Eternal’s Train of Thought at Passion of the Weiss’ Top 50 Hip Hop Albums of the 00’s #20-11

Staring Out of Stevie Wonder’s Glasses

It’s been 4 years since he dropped and I still have never purchased anything by The Game.  It’s a shame because even though he’ll never be a technically sound emcee, good Gold almighty, can The Game pick out some beats!

Today’s entry in the Passion of the Weiss Top 50 Hip Hop Album of the 00’s from yours truly is The Game’s debut LP The Documentary It is perhaps the best instrumental mainstream hip hop album of the past 10 years.  I could care less about The Game or his name dropping or his past or his weird fixation with his rap heroes who ended up funding, developing, and writing most of the album.   What I find fascinating is that a novice rapper (he had only been spitting for 4 years by the album’s release date) was beating the shit out of more polished vets at the most critical aspect of album making: beat selection.

Think beat selection isn’t huge?  Compare The Love Movement to Midnight Marauders or Iron Flag to 36 Chambers.  Great MC’s usually remain great MC’s over the years–their ear for beats, well…that’s another story.  The Documentary’s soundscapes SHOULD have been for Jay’s comeback album, or 50 Cent’s follow-up to Get Rich or Die Trying, or at least Chuck Norrising any of Nas’ output this decade (maybe…in retrospect…letting Chris Webber beats make an album over Timbo, Hi Tek, Focus, Needlz, Just Blaze, etc wasn’t a good idea?). 

When I listen to The Game’s debut, I’m doing so as a white girl at the club: fuck lyrics, that beat is catchy!  “Put You On the Game” by Timbaland is possibly my favorite beat he ever made.  “Dreams” by Kanye not only has the illest bassline of his career, but it could’ve been the second single from Scarface’s The Fix.  “Westside Story” is typical Dre/Storch fare, but that snare drum is cleaner and sharper than Sledge Hammer’s hammer.  “Hate it or Love It”–a beat not out of place on a Little Brother album was ALL OVER RADIO AND TV!

As an MC, Game has his moments of illy, but Dre could’ve switched him out with Cedric Ceballos and this album would still bang.  His follow-up LPs have largely featured more outstanding production though it appears his Boost Mobile phone has been cut off and Dre an’ them aren’t following him on Twitter anymore.  But think about this: if “frustrating album” emcees like Ludacris, Method Man, and Busta Rhymes could put together the audio lineup for ANY of their LPs that Game exhibited on his first LP…Jesus Christ on wooden crutches!