T has been patiently waiting, so let’s get into some Army of the Pharoahs material that I don’t hate. The album stream is embedded at the bottom.
I think Apathy is probably my favorite white rapper. Or maybe El-P. Both are clearly attached to the East Coast boom-bap that I love, and both SPIT. Where El-P’s music is very personal and often sonically and lyrically challenging, Apathy has much more of a back-to-basics ethos that makes him instantly likeable for any fan of hard beats and boastful lyrics. Lucky for us, none of that changed with Connecticut Casual, his 2014 album.
So… I hate this shit. Jeezy impressed me so much on Rick Ross‘ War Ready, that I thought I’d give Church in These Streets a chance. Might be another fun time to give an opinion that no one asked for or wants from me, right? But, I really have nothing to say. Jeezy just isn’t a good rapper most of the time. I already expected vapid topics, but these subterranean levels of lyricism cannot be excused. Maybe he mainly tries on features? Anyway, in the interest of being as positive as possible, I’ll just briefly comment on the only songs that I may keep off this album.
Confession time: I’ve never listened to a whole Method Man album before this one. I’m sorry. You can draw and quarter me later. At the time when Wu was new, I was super young and my older brothers controlled the stereo and therefore all my music habits. They played Liquid Swordz and Ironman, so those are the solo albums that I’m most familiar with from that first round of releases. Might I suggest blaming them while I try in vain to find the time to keep this site going and fill my hip-hop history holes?
Honestly, I’m not sure why The Game exists. If all art should have a purpose of some sort, then I’d love for someone to tell me what The Game’s reason for being is. Why does anyone need this music? Granted, that’s a question that should be asked of many rappers before we volunteer our time listening. And there are loads of rappers who deserve this question much more than Game. But while listening to The Documentary 2, his sequel to his debut, I realized that I still don’t know who and, more importantly, why exactly The Game is.
When I think of Detroit hip-hop, people like Elzhi, Black Milk, and Slum Village come to mind. Not Guilty Simpson. While I’ve known of Simpson since first hearing him years ago on Elzhi’s Fire remix (his is the second to last verse), I’ve never been compelled to explore his music beyond features and the Random Axe album. So Detroit’s Son, his fifth album on the Stones Throw label, is my first experience of Guilty Simpson as a solo artist. And, having now played it for a few weeks, I can safely say that I’ve been sleeping on this guy.
I’ve spent about half of my life waiting for Dr. Dre’s final album, Detox. Along the way, battered by numerous setbacks and teases, I gave up hope. It was becoming foolish to believe that Detox was still coming, especially given Dre’s preoccupation with his protegés and business deals. It became clear that, while hip-hop was still somewhat a passion for Dre, his solo career was not the desired vehicle for exploring it. In fact, solo work has never seemed to be Dre’s focus. Even his own rare albums were always used more as launching pads for other artists rather than for Dre himself. Given this lowered (to below sea-level) expectation for new music, I welcomed Dre’s new focus on the NWA biopic, Straight Outta Compton. Since no music was coming, at least I could console myself with the story of Dre’s legendary group, rather than constantly read news about his overpriced Beats headphones or the Beats deal with Apple. But Dre totally surprised me with the release of the album, Compton, which was inspired by the making of the movie. I was weary about new Dre music after such a long hiatus from solo music, but I went in with as open a mind as possible…