In a small, intimate listening session hosted by Jay-Z, several prominent journalists and even a couple of random fans, the highly anticipated Jay-Z/Kanye West collaborative project, Watch The Throne, was unleashed. The reviews are in, and despite what many feel was a bad omen in the form of “H.A.M.” (like us), word on the e-street is that Watch The Throne may end up being largely worthy of the hype.

No, your friendly neighborhood hip hop site was not present at the event. Our invite must have gotten lost in the (e)mail, but it’s ok. We’re sure Jay an’ ‘nem will realize their mistake and give us a one-on-one exclusive soon. In the meantime, if you’ve been watching the Watch The Throne progress, and wish that there was one place that you could get all the good reviews for the upcoming project, we got you.

Chuck Creekmur, from AllHipHop.com was there, and he breaks down his thoughts on a track-by-track basis. He gave insight as to the rules and regulations of the session, and gave a decent overview of the project.

Jermaine Hall, Editor In Chief of Vibe, give a 10-list of “things we learned” from the listening session, providing interesting tidbits like, “You didn’t like “Ham?” Well guess what? They two titans got the memo,” and ”Jay wants to surpass the Beatles’ record for most #1 albums. They’re at 16. He’s at 11.”

Rolling Stone provided a thorough review of the event, and the music therein, as Simon Vozick-Levinson echoes the other men in his enthusiasm for the project, especially songs the “Otis Redding” song and co-sign of Frank Ocean’s contributions.

Listen to Jay-Z and Kanye West ft. Otis Redding – “Otis”

MTV was there, and also broke down the music, relaying some additional information gleaned from a friendly, but mostly tight-lipped Hov, and GQ’s Sean Fennessey detailed the event from his perspective as well (accurately calling out how useless most listening sessions are).

Lastly, the Voice of New York Hip Hop, Angie Martinez was in the proverbial house, and had this to say about the project.

All in all, the consensus seems to be that these hip hop heavyweights are bringing something notable to the table with Watch The Throne. The album is available for pre-order now through www.kanyewest.com, and is expected (for now) to drop on August 2.

File this under “better late than never,” as I promised a very nice person in LiKWUiD’s camp I would check this album out quite some time ago, and have taken my proverbial sweet-ass time in doing so. I assure her now, however, and all you reading, that it is not for lack of goodness, as Gummy Bears & Champagne should deliver a little something new and enjoyable for ears of many different tastes.

From it’s initial title track opener, Gummy Bears and Champagne, demonstrates that LiKWUiD (a.k.a. LiKWUiD Stylez) lives in a lane a little less traveled, and generally, this is a good thing. Rocking over an uptempo soulful 2HungryBros track, LiKWUiD spits with a flow, if one must make female comparisons, that might be described as a slightly Southern-twanged Rah Digga. LiKWUid does have her own aura however, and occasionally, quite a playful approach, evidenced by the skit at the end of the opener, and further exemplified by the even-more-festive track, “Go L,” a joint I remember watching LiKWUid perform live, and proverbially killing it. It’s a fun track, and my favorite on the CD.

LiKWUiD, a South Carolina transplant, tells a bit of a back story on the vaguely “Lollipop”-influenced “Who’s Down,” speaks on her Carolina roots on the drawling Southern hip hopish and fittingly titled “Carolina,” but brings it back to a sampled soul vibe with a humorous, raunchy twist on “Camel Toe.”

“All I$ Fare” pushes a high-energy, on-some-musical-other-shit button, a valiant attempt at owning a bit-out-in-left-field style, one that ultimately left me a bit unfulfilled, but admiring of the effort, wondering if those more inclined to this type of sound might receive it better than I.

Of the remainder of this project, “Soul Rebel,” a smoothly produced, Caribbean-flavored joint, and the hypnotically good “A Toast,” featuring Coole High, worked well.

So, a solid project, though we thought there were a couple of slight hiccups. In “Snap Shot,” we like what LikWUiD was saying, but thought the track didn’t compliment the message well while the jazzy “My Life” was loose but flighty, but ultimately might have missed it’s mark. Another 2HungryBros production, “Goodness Love —> Eternity” had a spacey/groovy vibe, matching LikWUiD’s more eclectic lyrics and flow, and could be a “grow on you” track while the Southern-flavored tracks might be skipped by those favoring a more typical East Coast sound.

This is a common result of an artist seeking to reach several audiences and cater to many sonic preferences on a single project, sometimes in an attempt at mass appeal, sometimes as a result of an artist trying to determine what their fanbase will favor, and sometimes as a result of an artist not knowing where they are in the general musical landscape. In LiKWUiD’s case, we think it is the former of the three, a purposeful attempt at variety and outside-of-the-box determination. For the most part, it works, though there are extremes here that will be considered downsides by those on the opposite ends of the respective stylistic spectrum.

That being said (written), LiKWUiD has a comfortable flow, a mix of confident spit and occasionally cocky humor, beat selection and song construction that works more than it doesn’t and an energetic stage presence. With those things, we expect LiKWUiD will be popping more champagne to go along with her gummy bears in the future.

For more information, to hear samples from, or to buy Gummy Bears & Champagne, visit www.iamlikwuid.com

LiKWUiD – Go L (What Recession?)

Smart, personal lyrics, sharp cuts and smooth tracks make Koncept’s Playing Life album an enjoyable listening experience, adding to the positive reputation of the Brown Bag AllStars collective, of which he is a member. Production is handled by group members as well as outsiders, including The Audible Doctor, marink, J57, maticulous, DJ Brace and DJ Dyllemma.

While it dropped a while ago, I had it hovering in my backlog, and since BBAS members generally put out solid material, I definitely wanted to get more acquainted with Koncept as a soloist. The 9-track digital download is free, while a $10 purchase gets you some bonus cuts. There are a few notable standouts on this collection, for instance, the beats on title track “Playing Life” and “Old Man Winters,” the chorus cuts on “Keeping On,” flow in “Know It Alls” and overall vibe of “The Preview.”

For whatever reasons, “You Knew,” (featuring Sene), didn’t hold my attention for too long, neither did “First Time,” (featuring J57), despite the creative sampling and on-theme lyrics. “Romeo & Juliet” was flipped nicely on “Old Man Winters” and the concept was clever, thus it’s the type of song indicitive of Koncept’s overall vibe, a bit of ‘needs-replay-to-fully-understand-what-he’s-saying’ going on, over generally strong sampled-boom-bap tracks. In previewing the leaked “You Knew” before the project dropped, Blake Gillespie of ImposeMagazine.com says, “Brown Bag All-Stars aren’t the pinnacle of 90′s retrofit hip hop, but they aren’t screwing it up either,” and I generally agree, with Koncept’s Playing Life fitting under that same generalized umbrella. Underground heads and ’90s hip hop fans will likely welcome a project like this, though since many of these listeners are simultaneously fans of more intense lyricism, Koncept may not be able to hold multi-playback attention with Playing Life.

Not that Koncept leaves too large  a void. He has the voice and delivery of a passionate MC and thoughtful lyricist. While his flow is far removed from a punchline-heavy style, Koncept seems more interested in getting his point across, with an injection of intellect to keep in line with the, well, the concept of each song. This gives folks who can think farther ahead than the current two bars something worthwhile to listen to, while the strong production choices gives the neck a nice workout along the way.

Download/Listen: Koncept (of Brown Bag AllStars) – Playing Life EP

Playing Life (from Playing Life)

MTV’s RapFix live spent time with Long Island/Brooklyn veteran Busta Rhymes, as Sway spent a good deal of time letting Busta talk, telling tales of industry stories, personal history and ongoing plans.

Joining Busta was Long Island’s Reek Da Villian, who we briefly featured on BirthplaceMag.com for his song “Mechanics,” featuring Busta Rhymes and Swizz Beatz. Reek spoke about his coming up in the game, and how having a mentor like Busta Rhymes is helping him achieve his musical goals.

Of interest was Busta’s story of connecting Dr. Dre and Raekwon, who Busta is feeling in today’s rap landscape, and his upcoming video with veteran video director Hype Williams.

Check out our coverage of Busta Rhymes over the summer headlining Summer Jam Canada, and our previous articles featuring Reek Da Villian’s “Mechanics” (it’s dope) and an in-studio freestyle.

Staying on our Jersey issh for a minute, we want to hip you to The ARE & B.E., the latest full-length project from Lyriq2Go, Cion Burris, Myk Dyaleks, collectively known as Brokn.Englsh. This high-energy, lyrical group has been on the BirthplaceMag.com radar for a minute, and this project, fully produced by The ARE (Trackmasters), is a great way to bring this trio to the front of your e-consciousness.

Brokn.Englsh released their debut album The Drawing Board in late 2009, and continued to perform in and around the NYC-area, working on The ARE & B.E. The project was primed by the release of a video for “This Way,” which can be seen below.

The combination of producer and group mix well through most of the 10-track release, on first listen, standouts are the aforementioned, “This Way,” “Before,” “Watchem,” “and “Can’t Fuck W Detroit.”

Production-wise, The ARE displays an eclectic mix of backing sounds throughout the musical soundscape of the project, a seemingly equal blend of  sampled and original music that is generally smoothed out and enjoyable.  The producer in me is a little uncomfortable with the vocal levels from time to time, but that could always be attributed to my particular computer/headphones, and it’s probably splitting hairs a bit.

In any event, if you dig the current crop of underground, lyrically-based NYC hip hop, Brokn.Englsh are certainly worth gettn.to.knw.

Download/Listen: Brokn.Englsh – The ARE & B.E. [Album]

Brokn.Englsh-This Way Music Video (prod by THE ARE) from Lyriq2Films on Vimeo.

Toronto’s native reggae sensation Prophet-Z has managed to win the hearts and votes of the hundreds of viewers and listeners that tune in every Monday from 6pm-8pm to the Memoirs by A. D. The General radio talk show, broadcast live on Street Market Radio. Prophet-Z has been in rotation going on 12 weeks with his recent single “Clap On, Clap Off”. He is no stranger to the music scene, having opened for the likes of Buju Banton, Papa San and Damien Marley. Watching him perform, the ladies love him and the guys respect his music. Prophet-Z now resides in Brooklyn, NY and is hard at work creating a buzz for himself, traveling back and forth from Jamaica to Canada and back to NYC. A.D. The General catches up with Prophet-Z to see what all the hype is about.

N.A.B.: I would like to congratulate you on your recent 12 week radio rotation win on the Memoirs by A.D. The General radio program. How did you get associated with A.D. The General?

Prophet-Z: I learned about A.D. The General through Dark Arts Media Manager, Damien Storm.  He hit me up and gave me the whole run down on your show. The rest is history.

N.A.B.: You are an artist, writer, producer and composer. Which is your first passion? And would you trade one for the other?

Prophet-Z: To be an artist and entertainer is something I strive to become better at.  In my case, I write all of my material, so the two roles fuse together. Music is my passion. Everything else, for the most part, comes secondary. Overall, whether it’s composing, arranging, or producing, I have an appreciation for all the different roles because I can express myself creatively in all of these areas, but I’ll definitely have to say that my passion for entertaining as an artist is my main mode.

N.A.B.: Where did the concept for “Clap On, Clap Off” come from?

Prophet-Z: Whenever writing a song, I try to capture the mood of the song from the production of the beat.  When Enagee Brooks shot me the beat from Jamaica I previewed it a couple of times. It had a solid, hard hip hop feel to it, so I felt the track had to reflect that. I tried to find a creative way to express this by using the line from the old school “clap on, clap off” commercial theme.  Only thing is, I’m not talking about light switches. I’m talking about switching off any negative, stereotypical arguments that come from people who don’t have anything better to do. And since some of my audience does not come from the Caribbean, and may not understand the language, I had to make sure that the chorus was recognizable and easily communicated… And a lot of people like it because of that.

N.A.B.: How do you deal with the comparisons to fellow reggae artists Movado and Sean Paul?

Prophet-Z: To be compared with big caliber artists like Movado and Sean Paul is a huge compliment for an underground artist like me.  Comparisons like these motivate me further to work harder and try and get on that level. It also makes me feel more confident as an artist to believe in my music because someone out there really enjoys it.

N.A.B.: I know you grew up in Toronto. Were you born in Jamaica or Canada? How did you manage to learn the culture and music of your native land?

Prophet-Z: I was born in Toronto, Canada. Culture was never hidden from me in my home. I wasn’t raised as the typical “Canadian” in the true sense.  Frequent visits to Jamaica on a yearly basis instilled in me more than a good enough understanding of the culture. My parents didn’t hide who they were and didn’t hide where they came from. As a result, I grew to appreciate the culture, from the food, values and definitely the music. Music was a staple in my home. My father had a big sound system which my brother took over and started DJing. Every weekend, we’d be blasting music and there was always a party going on. My sister taught me how to rhyme and would put me on the mic to do my thing. Being surrounded by the culture so deeply I didn’t skip a beat and everything just seemed to click naturally. I never really thought about it until now.

N.A.B.: What is the name of your debut album? Where can we download or purchase?

Prophet-Z: I’m working on my debut album at the moment, but I have a couple of mixtapes circulating around the streets and on the web right now.  One of them is Ambition Over Laziness and the other is Pushing The Envelope.  Anybody that’s interested in checking them out can visit my myspace page (myspace.com/pzmuzik) and download them for free. I also have two singles, “Can’t Run” and “She’s On Fire,” currently available for purchase on iTunes and other digital distributors.

N.A.B.: A lot of your rhythms seem to have a hip hop influence. Are you into hip hop, and is it important to have a hip hop influence in your music?

Prophet-Z: I’ve always appreciated hip hop as much I did reggae and dancehall music.  However, I always felt that lovers of hip hop never really understood reggae and dancehall and vice versa.  So, on some songs I try to merge the two genres in a way that would appeal to listeners.  In that way, it’s important for me to have a hip hop influence in my music, but when I feel like doing a straight up reggae or dancehall song, specifically to express myself differently, I do it.  Hip hop and dancehall share some of the same elements that I love.  The two really go hand in hand from the introduction of the reggae sound system bass bins played in the parks of NYC in the beginnings of hip hop culture by DJ Kool Herc to the different dances created by dancers in the streets of Kingston, Jamaica.

N.A.B.: Any last words to the readers of Birthplace Magazine and shoutouts?

Prophet-Z: As much as I love music, I realize that nowadays talent alone is not doing it for any artist.  So I’m that much more determined to make sure I understand the business side of it in order to get on the same level as the big entertainers, officially.

I want to big up Birthplace Magazine, The Memoirs show, A.D. The General and the whole N.A.B staff for supporting Prophet-Z.  I definitely want to big up Hy-Lyfe Digital, Sepe Lee, Miggy B, Dark Arts Media, Toronto Massive, Brooklyn Massive, Jamaica Massive and all the DJs that keep pushing Prophet-Z’s music in heavy rotation.  Nuff Respect. Well Sharp!

Big Deal Bill$ is a Brooklyn born rapper raised in the streets of Red Hook who has had a passion for creating music that began at age 12, influenced by artists such as Biggie Smalls, Method Man & Jay-Z.  Although his teenage years were riddled with drug selling and violence which eventually lead him to prison, in 1999 Bill$ founded a hip hop collective, “Dying Breed“, an extension of himself comprised of many other talented artists. Upon his release from prison, Bill$ choose to take his music more serious and started his career in earnest in 2009. Since then, Bill$ has performed in several New York City hip hop hot spots, such as the Time Square Arts Center, Marfa Lounge, Bowery Poetry Club, just to name a  few. He has also worked with underground artist like T. Parris, Trife Boss, General GC and a host of others. Bill$ can be seen on Booth Burners DVD Vol. 2 and heard on DJ G Hanes’ Back On the Grind Vol. 5.

Bill$ is out to set a trend of a more “down to earth” hip hop, expressing his true reality through his music. His motto is simple: “The more real you are with your music, the better the sound.” Big deal Bills is the newest winner at the Elegant Hoodness Musical Program and N.A.B. caught up with Bill$ to discuss his win and his movement.

N.A.B.: Congrats on your recent win at The Elegant Hoodness Musical Program. Tell me about your first experience at Elegant Hoodness, what was going through your mind before hitting the stage, and your feelings after your performance. Did you know you would win?

BIG DEAL BILL$: My first experience performing for the Elegant Hoodness Musical Program was CRAZY! Hitting Bowery Poetry Club’s stage in front of a big crowd had my blood rushing! They had some good people rocking with me on stage too. I have high confidence in my music and my performance, but did I know I was going to win? Nah. I just did me.

N.A.B.: What does BIG DEAL BILL$ mean?

BIG DEAL BILL$: Well, Bill$ has been my rap name for the past 11 years. The “Big Deal” part of it is symbolizing the confidence I have in my personality and my music. Might sound cocky but my persona and music together can make people feel more confident about listening to unsigned hip hop, and that’s a “Big Deal”.

N.A.B.: How long were you incarcerated? And while you were incarcerated was music a big part of your survival in jail?

BIG DEAL BILL$: I was away for 2 1/2 years. Maxed out too! Writing lyrics during that time was a means of mental survival. Not physical.

N.A.B.: Do you think you have found your lane in music because of being locked up for so long?

BIG DEAL BILL$: Yes, I did find my lane in music in prison. The reason being is the fact that I was doing a lot of self realization and examination, which helped me tap into my passion for making music much deeper and more real. Instead of writing battle raps that where filled with little truth and a lot of imagination, I started writing my life. That’s why people can appreciate my music, because I don’t escape my reality.

N.A.B.: Can you break down “Dying Breed” for our readers?

BIG DEAL BILL$: “Dying Breed” is a state of mind that is expressed through the way I live. Honesty and loyalty with no hidden agendas make my team and I a “Dying Breed”. You don’t come across too many people that display those characteristics consistently nowadays. Funny thing is, you could tell an artist is a “New Breed” through the music he or she makes, by listening to their lyrics and seeing their lifestyle doesn’t add up to what the audience hears. Fake! I’m ME, 100% of the time. 24/7, 365! So are my people around me. That makes us, or anyone displaying these characteristics, a “Dying Breed”.

N.A.B.: You are very energetic and passionate in your stage performance. How important is it to “bring the house down” when you’re doing a live show?

BIG DEAL BILL$: It’s important for me to give a great performance because the crowd needs to be entertained, so they could look forward to my next performance. Bottom line… Sure my music may have you bopping your head while it’s in your ear, but I want to make you move your body when I’m on stage. My fatalistic nature gets me caught up in the moment of telling my story, so I get extra energy to do so because, well, it’s ME you’re listening to. Can’t sound one way on a track and be another way on stage. There has to be a balance. You get me!?

N.A.B.: What is your goal musically for 2010?

BIG DEAL BILL$: My goal musically for 2k10 is to release my debut EP Count Me In. It’s a classic! Trust me. Also, to get Dying Breed’s engine up and running. I got some talented people with me who are ready for the world.

N.A.B.: Any shouts out and last words for our readers?

BIG DEAL BILL$: I would like to say this, perfect planning and consistently being determined to make your dreams reality will pay off. Just as long as you don’t let nothing, and I do mean NOTHING, hold you back! ‘Pac said it best: “Against All Odds”. Big shout out to Birthplace Magazine for the interview. Shout to A.D. The General, for the opportunity to grace The Elegant Hoodness Musical Program’s Bowery Poetry Club stage. Shout out to Dying Breed. Shouts to all who have helped me follow my path in this music biz. Follow me on Twitter @bigdealbills. Five of my tracks are on www.myspace.com/bigdealbills to listen to along with show dates. Any producers or promoters want to howl at me or for any bookings, hit me up bigdealbills@gmail.com.

Written by A.D. The General and Ms Fefe (N.A.B)

There is a sphere of hip hop that can be labeled “progressive”, with a lyrical foundation in intellect, and music a bit more experimental. Dash Speaks, a 24 year old “hip hop explorer”, lives in this world.

While some hip hop purists dismiss a “hipster” rap sound, there is something to be said for any sub-genre of hip hop that emerges to a level of being labeled. This particular sound is a kind of intellectual, often emotional, slightly experimental hip hop, often incorporating singing and electronica-based beats with an unspoken quest to be purposefully different than its hardcore, boom-bap cousin, has risen from the butt of jokes on hip hop blogs and message boards, to respectful heights, thanks to some high-profile efforts by folks like Lupe Fiasco, Kanye West, Wale and the like. For years, the question has been floated around whether or not this progressive approach to hip hop was the next coming, or simply an offshoot destined to flair out like others in the past (can you say, “horrorcore”?).

In an around New York City however, this type of sound is alive and well, and is producing an interesting assortment of new music for us to fish through. Some of it borders on the ridiculous, experimental for the sake of experimenting, while some has found its way out of the confines of the tri-state, and represent solid efforts at musical and lyrical newness that, while may need to be tweaked, are indicative of a new breed of MC. Independent, renaissance-minded, creative and smart. While the music business continues it’s (de?)evolution, it is this sort of artist that we predict will rule the musical landscape. We’re not there yet, but Dash Speaks might meet us there.

The spitter/singer/songwriting rocker-turned-poet-turned-rapper, who has performed alongside notables such as Lupe, Talib Kweli, Kid Cudi, Mickey Factz, Das Racist and Mike Posner, has returned to his New York roots from school daze spent is the now-buzzing state of Arizona, to craft, produce, record and perform Geography, an 11-track, freely distributed project released in February. This collection of songs, each “subtitled with a particular set of longitude and latitude degrees, to compliment the geographical theme, is led by “Tonight”, a loping well produced track with an ethereal vocal snippit dipping in and out,dancing among Dash’s rhythmic styling.

“My boys give me a hard time, say I’m on some hipster shit, I tell ‘em I’m not hip, I’m cool, there’s a difference”

Maybe. But either way, “Tonight” is enough of a smoothed out effort that should  make you want to hear more, if you’re the type to dig this style of hip hop. Grimy, it is not, but as we mentioned, we suspect the audience for anti-grime is growing. If so, Dash should keep Speaking.

Tonight (50° 19′ 56.0194″ E 18° 2′ 8.5412″)

(We think that’s somewhere in Poland, but we don’t know what we’re doing, so don’t quote us.)

Download: Dash Speaks – Geography

First Impressions review scoring is based on the reviewers initial reactions to each individual track. In most cases, the listening time is limited to 1:00 of the song, though this will occasionally be extended on the spot, due to extended intros and other factors. Scoring is done on a scale of 1 to 10, with 10 being the best possible score. Each track will carry two numeric scores (1-10), one for overall musical achievement (beat, orchestration, production quality, etc.), one for vocal achievement (lyrics, delivery, etc.).

Votes are averaged out, and the two categories are averaged for a total score. The reviewer adds or subtract certain amounts, to factor in the First Impressions of the project as a whole. After these additions or deductions are factored in, a final score is determined. This is our First Impressions rating score.

YC The Cynic – You’re Welcome [Mixtape]

[Presented by Chaundon. ycthecynicbandcamp.com | www.myspace.com/YCTheCynic | ycthecynic.blogspot.com]

Track 1 – State I.D.
Ah hot beat choice, to me anyway. Big fan of that sound. I have this on vinyl, can’t remember the name or artist, but I have it. This is some Diamond D, DITC stuff. Forget who used this before, but it’s dope. I wonder if that’s his “thing”.. Young cat, early ‘90’s beats.. We’ll see. Long intro but that’s ok, hot loop. Ok, let’s see what he’s is coming with. Good voice, vaguely reminiscent of …. I can’t place it… Doesn’t matter. Good delivery. Ha. Smart lyrics. The intro lasted :20, I’m stealing a few more seconds of listening. Ok. So far, the hype is real. Plus, nothing irks me more than when a good artist starts a mixtape with sub-par work. Not so in this case. Well done. I’m in.
Musically: 8.5 – Vocally: 8.5

Track 2 – Kick Back
Slower, breakbeaty vibe, another good sample. Definitely my style of loops. This is a more lyrical exposition than the first, the track is smooth, but doesn’t do much, but the words and enunciation are sharp. A good listen. Reinforces YC’s lyrical skill. Smooth.
Musically: 7.5 – Vocally: 8.5

Track 3 – Return of the Slick
Ok, technically violates the rules of First Impressions, because I heard this before. However, it’s my site, and my rules so I’ll bend ‘em when necessary. A he-style (what we call pre-fabricated verses spit over previously established beats, a she-style if the MC is female) over the classic Digable Planets joint “Rebirth of Slick (Cool Like Dat)”. Ok, now I’m think this *is* YC’s style, these “older” sounding loops, which is very cool with me, I’m an older sounding loops kinda guy. Flow fits into the sonic spaces of the beat nicely. Again, smart lyrics, good wordplay, but not as piercing as earlier tracks. My second impression is, “Good, he didn’t play himself on a classic”, but I need to hear more to really feel like I can judge dude. But I do want to hear more, which is also good. All this was the same result as my first impression after hearing this cut for the first time, which is why I’m here reviewing it now. So…
Musically: 8 – Vocally: 7.75

Track 4 – The Honor Society ft. J. Monopoly, E.Y.E. Q, & J.O. of O.I.S.D.
Again, a similar track but one that is a bit too monotonous for me. Other MCs on this track, J.O. first, who is decent, but I’m not fighting the urge to move on at 1:00. It could have been a stronger showing from the leadoff verse. YC also spits pretty hard, but it’s probably just the track, also a familiar one, not one of my faves, but good for a posse cut, which this is. So…
Musically: 6.75 – Vocally: 7

Track 5 – In The City ft. Warren Britt
Another joint endeavor, this one with Warren Britt. Again, I have to go longer than 1:00 to get to YC. It’s only fair. The joint is a “tale of NYC” type of joint. After the soulful loops of prior tracks, the music on this track is a bit of a letdown, a little simplistic and uninspiring, but both MCs hold it down enough, just not as strong as a thoughtful song should be. So, while listenable, it’s also a bit skippable.
Musically: 5.5 – Vocally: 7

Track 6/7 – Chris Brown’s Latest Hit
Ah, one of my favorite classic loops (used on my “Overnight Celebrity” remix, but more famously by Ahmad in “Back In The Day”). A whimsical intro, “warning” that despite the forthcoming track, YC and affiliates do not condone violence toward women. Then, proceeds to equally whimsically rhyme about violence toward a woman. Hey, she gave him herpes. I’m not saying I agree… But I undahstaaand [in Chris Rock voice]. Smooth, semi-silly joint, but we are not afraid to say we dig it.
Musically: 7.25 – Vocally: 7.25

Track 8 – Why Cee LA
Fugees track, “Fu-gee-La” beat. Dope choice again. Wow, for a second, YC sounds like Wyclef if Wyclef could really, really rhyme. Shit. This is a pretty hot ass verse. OK young YC, I’mma give you a compliment right here, because I’m wheeling it up and coming again. … listening, listening…  Yeah, it was hot, I thought so. In all honestly, hottest verse I’ve heard in a minute. If I had to pick one thing to play from YC The Cynic to say to someone, “Hey, check out this cat YC The Cynic,” it would be this.
Musically: 8.5 – Vocally: 8.75

Track 9 – The Blogspot
Clever. YC rhymes about YC’s blog. Good joint. Nothing spectacular, nothing horrible. Solid. Strong. Quick. (That’s what she said. Sigh.)
Musically: 7 – Vocally: 7

Track 10 – The Bad Seed ft. Final Outlaw & D. Julien
Oh yes, definitely favors DITC type sounds. This is a Showbiz and AG track? Big L? Can’t recall. Don’t want to interrupt and research. YC seems to adapt his flow for the track, which good MCs do, but he also seems to flow into the era a bit. So, without sounding dated, he sounds at home. If he’s trying, that’s dope. If he’s not, it’s natural, and that’s dope too. Another strong showing.
Musically: 7.5 – Vocally: 7.5

Track 11 – Lost ft. Rodstarz of Rebel Diaz & Hipnotic
I don’t recognize the beat. Maybe an original. Whatever. I don’t know everything. Introspective, thoughtful sounding beat. First MC is not YC. Probably Rodstarz of Rebel Diaz. I don’t know. I let the verse breeze by while typing this, it was a fine verse. YC is up next. Introspective, thoughtful verse. Chorus makes sense. Ok, yes, the last MC is Hipnotic so the other guy was Rodstarz. Wait, I’m supposed to be listening to only 1:00 or at least only YCs verse. Stop. That’s a good thing, when a song is tough to turn off. These three did good. Ok. Moving on.
Musically: 7.25 – Vocally: 7.25

Track 12 – Where’s Lauren (Take It Easy rmx)
Anti-industry rant, the type you hear from indie MCs, over the slappy but slightly monotonous Lauryn Hill “Take It Easy” track. (Psst: It’s Lauryn. With a y. Sorry. It’s the factchecker in me. Plus I had a industry crush on her years ago so I used to make pretty pictures out of… um.. never mind.) Now, YCs certainly saying something, he knows what he’s talking about, and it’s probably worthy of a re-listen, but it didn’t blow me away. It’s either a little lazy, compared to other tracks, or, requires more than a quick 1:00, first impression type of listen. That happens sometimes, but, those are the rules. So…
Musically: 7 – Vocally: 7

Track 13 – Say Superman
Pretty sure this is the cut that got people murmuring about YC in and around NYC. James Brown guitars and vocal samples, breakbeat, slight sonic chaos, noddable. YC’s voice is a standout, he’s like a lyrical cat playing with his musical food, dancing words in between drum sounds. Another track that is hard to stop at 1:00, leaving listener wanting to hear it out. Good stuff.
Musically: 7.5 – Vocally: 7.5

Track 14 – Be Aware (Kings of New York)
Another track I swear samples something I have on vinyl. Smooth, soul piano loop, chorus sung, also suggesting a thoughtful, serious-minded track is coming. YC kicks in, yep, social commentary. Just good poetry this guy has. I can see why people are making a big deal about the fact that he’s so young. Personally, I think that the general public has just been beaten over the head with lyrical illiteracy for so long, someone with a vocabulary and some sense of staying on message sounds spectacular in comparison, but that being said, YC is smart, and delivers well, and I was never brainwashed to accept mediocrity. This is a good track.
Musically: 7.5 – Vocally: 7.75

The Synopsis
In it’s entirety, You’re Welcome is an extremely solid mixtape. There are no two ways about it. The majority of beats were chosen wisely. Lyrically, YC is intelligent and rocks with diction. He enunciates well, emitting just the right amount of emotion for each track, while skillfully staying on message. His age will win him a brownie point, but we’re not going to harp on it. If anything, we wouldn’t say “He’s even doper because he’s young,” like many others might, rather, we’ll use his youth to explain away slip ups or slight low points. That kind of thinking allows YC to get better without pressure of being lifted up to an early pedestal, aka, the Curse of Nas. Bottom line is that we haven’t come across any spot that has mentioned this project, or this artist, without hearing/seeing/reading positive things, and now that we took the time to fully investigate, we agree. A damn fine rookie effort that has good replay value. So, we suggest you snatch the mixtape and decide for yourself, but we’ll be definitely looking out for more from YC The Cynic.

Highs
Why Cee La (8.625), State I.D. (8.5), Kick Back (8), Return of Slick (7.875)

Lows
In The City (6.25), The Honor Society (6.875)

The Math
Musically: 95.75 / 13 = 7.37
Lyrically: 98.75 / 13 = 7.60
Total: 7.49

The Curve
Musically: + 0.25 Overall, beat selection was strong, smart choices. However, a couple of missteps held the project from being even stronger. For instance, “In The City” and “The Honor Society” were mainly low due to sub-par tracks, not the abilities of the guest MCs.
Vocally: +0.5 for clear diction, impeccable timing, smart lyrics, beating a slight lisp and possessing a verbal x-factor.

The Final
8.24 / 10.00

First Impressions review scoring is based on the reviewers initial reactions to each individual track. In most cases, the listening time is limited to 1:00 of the song, though this will occasionally be extended on the spot, due to extended intros and other factors. Scoring is done on a scale of 1 to 10, with 10 being the best possible score. Each track will carry two numeric scores (1-10), one for overall musical achievement (beat, orchestration, production quality, etc.), one for vocal achievement (lyrics, delivery, etc.).

Votes are averaged out, and the two categories are averaged for a total score. The reviewer adds or subtract certain amounts, to factor in the First Impressions of the project as a whole. After these additions or deductions are factored in, a final score is determined. This is our First Impressions rating score.

SKYZOO – THE SALVATION

Released: 9/29/09 – To purchase: iTunes or Amazon

Track 1 – The Opener (Production: Cyrus tha Great)
A smooth female gospel acapella, Jesus is the Main Line sounding, over the busy sounds of the city serving as a backdrop. “If you want salvation, tell him what you want,” they sing, as the hustle and bustle of city life buzzes in the background. This leads into smooth piano and strings melody, more indicative of an R&B album. It’s pleasant. Here comes the beat, simplistic kick and rimshot, bassline, and airy synths. Initial lyrics and flow sound explanatory, Skyzoo is setting up his mission. Musically: 7 (6.5 for the track itself, +.5 for the production on the intro). Vocally: 7

Track 2 – Return of the Real (Production: Just Blaze)
Just Blaze verbally introduces the track he produced, leading with buzzy, funk-type saw sounds. Rambunctious Just Blaze-ish type beat drops, and Skyzoo jumps right in. Skyzoo sounds less frantic than the beat, something’s off. It doesn’t sound like a match. Skyzoo is not amped enough, and it’s not one of JB’s best. Musically: 6. Vocally: 6

Track 3 – The Beautiful Decay (Production: 9th Wonder)
Standard 9th Wonder studdered soul sample beat. Skyzoo rides this one better, it’s a better match to his vocal timber. If the chorus flips nicely, this will be a good listen. Hm. It doesn’t. First impulse it that this will sound too repetitive with no orchestration change, but overall it’s a good vibe. Musically: 7 (deduction for perceived repetition). Vocally: 7.5

Track 4 – My Interpretation (Production: Best Kept Secret)
Synth-filled, spacey intro, with a flanged Method Man uttering “excuse me as I kiss the sky”. This is a unique sounding beat with lots of levels. Spacey vocals, piano, studdered snares, xylophone-like sounds. Busy but still able to vibe it, though at times, seems almost overpowering the vocals. A very self-reflective sounding track. Mature sounding, lyrical. Won’t grasp the content on the first listen. Worthy of a second listen for sure. Musically: 8 (for uniqueness). Vocally: 8

Track 5 – Popularity (Production: Nottz)
Bouncy, playful beat, with playful lyrics to match. Simplistic beat but very noddable. Easy to see why this was an early leak. Certainly less “deep” than Skyzoo’s other work, and this may be a purposeful reach to gain “popularity” but even so, it works. Musically: 8. Vocally 8 (for delivery, playful content, riding the track well).

Track 6 – Like A Marathon (Production: 9th Wonder)
Another signature-sounding soul sample flip, hard snare, it’s cool. Skyzoo speaks deeper than easy-to-get punchlines, there’s a story in much of his lyrics, an understanding that won’t come from 1st impressions. Chorus is repetitive. Listening overall, I get the feeling something’s about to hit me, but never quite does. Maybe it’s the orchestration of the beat, holding the song back. Musically: 6.5 (for potential not reached). Vocally: 7 (but could have been a 7.5 with better backing)

Track 7 – The Shooter’s Soundtrack (Production: Cyrus Tha Great)
Highly experimental sounding beat, off-on stagger, doubled snare, synthy sample chop that’s more annoying/boring than not. More of the same for the chorus. You’d need an acquired ear to like this. Won’t find it on the first listen.  Musically: 5. Vocally: 6

Track 8 – Under Pressure (Production: 9th Wonder)
Starts with the singing of “Walk On By”. Music is piano and vocals with a buzz synth buzzing. First impression, Skyzoo is reminiscing on a lost love. Another good match of music with voice. Skyzoo is infinitely more listenable when the music matches his vocal zone, he doesn’t seem to rise to match music that isn’t in his comfort zone. This song has nice orchestration. Smooth and noddable, hard to hold at 1:00, left me wanting to hear more. Musically: 8. Vocally: 8

Track 9 – Penmanship (Production: Black Milk)
Track features an organ loop with stabbing synth sounds, bubbling bassline. Skyzoo spitting some methaphorical lyrics, another must-listen-again to “get it” track, but it’s not an awesomely exciting track. Manages to hold attention, and curiosity as to what Skyzoo is trying to say. Musically: 7 (barely). Vocally: 7

Track 10 – Dear Whoever (Production: Illmind)
Another soul/R&B sample intro with sax and vocals, into a chopped vocal and music loop. Sounds like another dedication to a female, or maybe one of those lover/life/music metaphor songs. Smooth enough to want to play past 1:00 to find out. Musically: 7.5. Vocally: 7.5

Track 11 – For What It’s Worth (Production: Eric G)
Apparent interview intro about wanting to be famous and successful, ending with, “temptation is a very strong weakness”. Smoothed out soul sample, good loop. Reminiscent, reflective feel and lyrics, seemingly speaking on his grind and struggle. Definitely hard to cut this short. Full play worthy, good music backing this, and sincere, personal lyrics, and again, a zone where Skyzoo is most listenable. Musically: 8. Vocally: 8

Track 12 – The Necessary Evils (Production: Needlz)
Hard vocalized sweep-heavy track, angelic-sounding sweeps, but really, it’s kinda overpowering, and doesn’t let up. Chorus explains “Necessary Evils, I ain’t trying to get by, I’m trying to speed through” – Pretty strong lyrical sound and flow. Ok, I cheated, and listened to a bit of second verse. This is probably a strong contender to be a “grow-on-you” track. Can’t decide if the continuous “angel” vocals are annoying or epic sounding, but on 2nd or 3rd listen I can anticipate this track winning me over. Musically: 7.5. Vocally: 8

Track 13 – Easy To Fly ft Carlitta Durand (Production: 9th Wonder)
R&B meets funk meets hip-hop vocalization by Durand. She seems just a touch out of place here, but it’s not totally a bad look. Song feels like a weedsmoke-filled love-me-instead-of-him song. It’s a cool vibe, better than good, not as good as great. Decent, but uneventful. Musically: 7. Vocally: 7

Track 14 – Bottom Line (Production: Eric G)
Soul sample, something about “changing” – Skyzoo agrees, “it’s” got to change. Here comes another self-reflecting joint? Hm. No. More like a self-congratulatory joint. Decent sample-chopped beat, chorus comes in well, and Skyzoo rides this track nicely. It’s just under the frantic level where his flow ends up sounding too laid back in comparison. Musically: 7.5. Vocally: 7.5

Track 15 – Metal Hearts (Production: 9th Wonder)
Hard breakbeat, Barry White-sounding  soul-chop that jumps in and out. The chorus adds flute/horn sounds, interesting orchestration overall. Another one to listen to a couple more times to fully “get” what Skyzoo is talking about, but the track does invite further listen. Musically: 8. Vocally: 7

Track 16 – Maintain (Production: Nottz)
Nice piano/drum/bass track, “Teddy P-sounding” vocal floats in and out after the intro sings “I’ve made it this far, but what will tomorrow bring?” Nice touch, the crackling vinyl sounds. Aahh yea, this is pretty smooth, well-produced. Reflective Skyzoo again, but a great match with this track. Musically: 8.5. Vocally: 8

The Synopsis
Overall, Skyzoo presents himself as a thoughtful, reflective and layered lyricist. For a First Impressions, this one was tough, because much of his content requires additional review. We feel there is clever wordplay at hand here, but are never completely drawn in to want to really listen hard. We found that overall, Skyzoo has a narrow range in terms of his vocal output. Too busy or hectic a track and it seems he does not raise his delivery to match, so he ends up flowing best over the smoother tracks rather than the fast-paced, experimental, or frantic sounding ones. This throws the CD off a little, as the song sequence does nothing to enhance the overall package. That being said, there are several good songs on this LP, and we do favor a lyricist, which we know he is.  Yet, while there were only a couple of songs that on First Impression we decided were skippable, we’re also not in a huge rush to play back the LP as a whole. In the end, we’ll probably add 3-6 songs to our rotating playlist, 3 right off the bat, and maybe 2 or 3 will grow on us on second and third impressions.

Highs

Maintain (8.25), My Interpretation (8), Popularity (8), Under Pressure (8), For What It’s Worth (8)

Lows

The Shooter’s Soundtrack (5.5), Return of the Real (6)

The Math
Musically: 116.5 / 16 = 7.28
Vocally: 117.5 / 16 = 7.34
Total: 7.31

The Curve
Musically: - 0.75 for production occasionally lacking thoughtful orchestration, no huge breakout smash, occasionally erratic experimentation and perceived awkward song sequence.
Vocally: +/- 0.0 deducted for narrow vocal range, and lacks the charisma to pull the listener in to want to hear more and understand his lyrics. Still, lyrically First Impressions are that he’s deeper than a first impression can allow for, and we do favor a lyricist, so it’s a wash.

The Final
6.56 / 10.00