Return to Sender

So, after a almost year and a couple days hiatus, I have decided to bring back them savory reviews. What could possibly bring the hype machine back from extinction might you be asking; Mark Ronson's new album "Version." Dude puts in Tim the Toolman like work on this cover song driven roller coaster. Collaborations with Amy Winehouse, Lily Allen, Kenna, and the underrated Daptone Horns Section give the album its character and balls. However its the unexpected cover of Britney Spear's summer jam "Toxic" that made me googley eyed. Stew up a horn section, smooth drums and the vocals of Ol' Dirty Bastard and you have a monster. The energy doesn't stop there. Each track is layered with raw melodies and especially emphasized are his drums of gold. How do you do it Mark? It's almost like the soul and rhythm of the 60's and 70's are reborn through his music. Daniel Merriweather gives "Stop Me" a new vibe and definitely redefines it's original greatness. I still recall waking up to Donald Duck cartoons with the original by the Supremes blaring out during some scenes. Timeless records are becoming more and more hard to find in an age of the daily download and update. "Version" gives a revival to the hope that new shit is about to break new grounds after such a long hibernation.

- coincidenceuno

(buy my album people, Oatmeal With Rhymes, www.myspace.com/coincidenceuno)

The next Wes Anderson pelicula needs J-ZONE.

The master of witty anecdotes and compositions returns but with a project that stands out against his previous four LP's. J-Zone embodies everything going through the mind of a regular dude on the verge of becoming half Frank the Tank from Old School, half Christian Slater from True Romance". "To Love a Hooker" is an imaginative ride. Be ready for fucking, snuggling, smuggling, smashing and crashing. Track by track, Zone reveals the ins and outs of what being an entrepreneur in the field of desperation ultimately evolves into. The mood is both hilarious and fluid at the same time, a rarity in terms of instrumental records now-a-days. Sadat X makes a few guest spots just to add that raw appeal to an already rugged beatscape. There's no doubt this soundtrack could easily be utilized as a tutorial for those interested in the ways of pimp. Trust me, after you listen to the album, you'll clearly see the picture. Old Maid needs to make a DVD quick and J-Zone needs to score Adult Swim or Nick Short Break.



http://www.myspace.com/jzoneoldmaid

I'm Back Like Nene. Mighty Healthy with Bronze.

Bronze Nazareth's The Great Migration rings old bells of glory. Loud at times and even louder others. It's been awhile since Killarmy and the Gravediggaz were standing as proud sprouts of the original swagger generals. Since then nothing and nobody from the Wu has really taken the initiative to build past what history's already seen done. Bronze has. Production credits on the Wu Tang Think Differently "Wu Tang Meets Indie" project signaled something new, bold and raw. From bottom to top the beats are never less than knocking. I'm talking about "in the heat of the moment" bed rocking, knocking. Although the content of the Wu, especially now a days remains hit or miss for many, Bronze keeps it remotely close to hitting. Guest spots from Wu affiliates Timbo King, Killa Sin (!!!) 12 O'Clock and Prodigal Sunn keep the LP tightly woven in styling. All around this is a solid pickup if you see it sitting in Amoeba's used lots. Migration has begun I can happily conclude that the Wu is still reinventing the gritty.

Beat: "Here What I Say"
Verbal: "Black Royalty"

Coincidence SANsei

Good Ole' Ghosty Does It Again...

The man with a thousand aliases and alter-egos has conducted a masterpiece yet again.

Fishscale only solidifies Ghosty's title as the greatest in storytelling this side of the sun. His wordplay and humor are witty as ever and definitely match up with the top notch production. Faces of consistency are all over as J-Dilla (RIP), Pete Rock, MF Doom and the Wu Camp help Ghost sling to his supreme clientele. A Ne-Yo song is the only nod against the album's greatness in it's entirety, but the dude is on Def Jam, he gots to sell SOME records. Even on that track Face is still Tony Starks, raw and on edge, complaining about a dime piece who just got on the wrong side of the robe rocking wallaby king. I admit, I had my doubts about Big Jay signing up Mr. former Ghostface Killah, but I feel stupid for the impulse of second guessing him. His reign is complete and I can only await what lies next for the dude who admits to fucking his fans.

Awol One meets Mascaria

Chemikillz. The title of recently released Awol One and Mascaria production. At a time where music has once again turned grey, something unexpectedly dope like this is always a great come up. That's what this album is to me... a CD that I wasn't meant to discover.
Like many of the Awol One CD's, that seem to come a dime a dozen, I was reluctant to give it a listen purely to avoid hearing Awol ramble about his personality. But after I got over my fears of Awol's lifelessness, and Mascaria's fresh approach to production sparked my interest, I paid attention to something I thought was lost long ago... C-R-E-A-T-I-V-I-T-Y.

I hadn't heard much, in fact anything, from Mascaria before, and I think this is a proper introduction to him for anybody who is interested in checking out socal independent music. I grew up in an area where everybody had demos. Everybody had computers and recording equipment to record whatever they damn well pleased, most of the time however, it was so-called gangsta rappers talking about guns. Regardless, on the local hiphop note, it's great to see independent talent created close by. Mascaria's production makes this cd a must hear. I'd be happier with less Awol on it though.

Awol has always been somebody that I thought was good only in certain cituations. With an addictive flow and controversial topic discussion, Awol brings interest in the form of a performance rather than as an MC. Which isn't always for everybody.

The album features a few heads you may or may not have heard of: nite n dae, akuma, liferaxall, lord zen, 2mex and existereo.

Favorite track: Mechanical Dolphins

So checka-check it out. Be on the lookout for more Mascaria... and watch Awol continue to release opinionated rambling.

J-Dilla brings the Donuts

It's been a good run for record label Stones Throw. With record producer Madlib releasing a seemingly neverending streak of otherwise undiscoverable breaks, and news from fellow canklesandwaffler/talented MC/Stones Throw marketing intern ohgeeyah feedin me happs, the Stones Throw family is becoming more and more of a positive role model than a record label. That said, let it be known that I'm proud to be representing hiphop in an area blessed with their music.

Stones Throw has changed my feelings about music. With up and coming artists like Aloe Blacc (of Emanon) and Madlib to resident legends like Peanut Butter Wolf, Stones Throw has created a monster of a hiphop crew, dedicated to bringing the good shit.

We've all heard that J-Dilla/Jay Dee has passed away. Let me first stress my sympathy and condolences to his family and friends in this emotional time before going on with this review.

Rest in peace. February 7 1974 - February 10 2006.

It was not my intention to do this review on dilla based on his passing, let it be known that I had previously written up an informal draft of this review that has been purged and recrafted to suit the present conditions. I had actually copped a sampler of this a while back and was absolutely stunned by the selection of music in which it held. As with any Stones Throw release, it showed me that hiphop is evolving... Not into a gangster or baller ridden plague, but something that can be enjoyed by all, respectively, based on things other than lyrical talent. This concept is upheld by J-dilla in its essence, perfectly, with absolutely no exceptions made.

Funk, Soul, Jazz, R&B, and even Classical are represented on Donuts with a twist of a somewhat modern yet old school pimp slap. This is the type of mix ohgeeyah talks about, completely out of context, after his third beer. This is the type of music you want to share with your elders... your significant other, and your friends because after listening thoroughly to this, even after only one time, you feel connected to its creator.

People like myself may listen to this compilation in disbelief. Speaking from the heart, it took me almost a week and a half to fathom dilla's death while this music spoke to me. Take a brief second and imagine your favorite CD of all time... Think about how you dwell on the songs: the production, the sound, the lyrics, think about how you dream of creating something as equally and beautifully as brilliant, think about how many people like you the songs on it have reached... and then imagine that artists suffering, painfully producing positivity and love through smooth peaceful music, all while slowly peering over the edge of life all the while. It saddens me... as I reflect and listen to Donuts, thinking about the possibilities of this man.

I've sincerely enjoyed Donuts, as I hope you have. I struggle reviewing this without mentioning how J-Dilla speaks on through his production. I also struggle with facing this simple fact of life... And it's not only as a stubborn and educationally ignorant music critic, but also as a fan, and firm believer in the Stones Throw family. I look at Stones Throws accomplishments as my own as I've developed as a person all while watching them grow as well.

J-Dilla you'll be missed. Your music lives on and I can't wait to hear from you on your unreleased work. We shall forever believe in your message, and will do our best to represent what you, as well as your label mates, have shown us.

Thank you Stones Throw and J-Dilla for bringing us crate diggers something to believe in other than blingy materialistic garbage. We appreciate your efforts and positive message.

All images courtesy Stones Throw.

Talib Kweli let ME down

I absolutely (or used to) love Talib Kweli, Mos Def, Hi-Tek, Reflection Eternal, Blackstar, etc so don't get me wrong about any of the following. To start this off, I have to say that Talib Kweli is in my all time top 5 non questionable favorites. So what the hell happened?

First of all, yes I understand this CD Confidential is a so called "bootleg" or "mix" CD. Yes I understand that this isn't his *new* album. Yes I understand that Talib Kweli has a dope history. But (and this is one hell of a "but") this shit (and I do mean shit) is absolutely fucking garbage. Riddle me this: Who seriously releases tracks featuring Slim Thug? Hmm, let's think about that: Everybody creating crappy new wave Rap music including, now, Talib Kweli.

Secondly, the production is fucking dick. Give me 20 mins, samples, and a microphone and I'll personally recreate half of this album. Hi-Tek, man, learn how to play an instrument, take up chess, or do something dude because sadly producing just isn't for you any more. Where the hell was the inspiration? You two of all people should know good music must, and this must is a must, have heart.

Although this CD is not worth the purchase price, there are a few tracks that are great and should definately be checked out. Track 17 featuring Kanye West entitled "We can make it better" featuring Q-tip and Common and Rhymefest caught me off guard. It's like a sweet taste of reality as a prisoner serving 25 to life. Production on this track is what should be expected out of these guys and it lets them live up to every bit of fame they've achieved thus far. The following track featuring MF Doom entitled "Old School" was also featured on MF Doom's newest album with Danger Mouse called "The Mouse and the Mask" so in my mind, although this track is great, because it was featured on another album it doesn't bring up the curve. The 19th track featuring Jaylib entitled "Raw Shit" is up to par with Talib Kweli's 2002 album Quality meaning it's good (these days what else would we expect from Stonesthrow?) The album ends with a song featuring Leela James which is a remix to the Leela James' original song "Music" off of "A Change is Gonna Come" which was good to begin with and it's kind of hard to fuck that up, so it doesn't really raise the curve either.

Not featured on this album, and I'm glad, is the b-side to track 8 entitled "Fly that Knot" featuring MF Doom off of Talib Kweli's upcoming retail album not yet released. Despite it's a-side, Fly that Knot has everything that makes a good song great, it contains solid production, catchy enthusiastic lyrics, and most importantly a message that is worthy of attention.

Lastly, in all hopes, I pray that this mix CD is not a preview of what is to come from Kweli. I mean, we've all seen great things from him as well as his peers, why stop now? Hopefully upon future album releases his shit is together, production is tight, and his lyrics aren't so generic.

Let this album come to you, support good music, don't buy it. In hopes of seeing better things from Talib Kweli, until next time...

Oh, and David banner maybe you should watch how you use the word "cracker," boy.

One of Those Mixes We All Need

You hear them all the time. Pause while somebody else is fiddling through the deposit envelopes at the ATM, it starts up. The moment right before your first swig of good ole' Captain Morgan; again the smooth sounds of love hit. Cosmo Baker masterminds through a whirlwind of unmistakably essential calm you down classics. Currently the disc lies in a pile of many fellow thin jewel cased mixes so I can't exactly pinpoint song titles or artists that I recall most. Yet, I know the whole damn thing was a revolutionary experience in itself. Subtle hints of sample mania strike with nostalgia with almost every track. It's like Baker wanted the mix to revolve around chess and the anticipation for the next move. Each blend is precise. Calculated perfectly, swiftly. So if you wish to engage in a 70 minute trip to funky junky humpy town, holler at the LAB and get yourself a copy on the hurry.

Coincidence

Zook - Music From the Accumulator

Who would I be if I didn't offer to you (our loyal readers) insight to more profound and elaborate music which you may have never heard of? We all know we here at canklesandwaffles are die hard music fans, each with a different interpretation and colorful ways to describe what's out there in the world. With that said, I'd like to establish that my purpose here is to get you thinking about what you haven't heard. I want to be consistent to those of you who actually read my posts by constantly bringing you reviews of albums which I like on a personal level in hopes that you haven't heard them yet. This was the best way I could think of to introduce you to one of my new favorite groups: Zook.


Up until a month ago, I hadn't ever heard of Zook. Somehow I wandered through Jazz, Lo-Fi, Funk, Hiphop, to Zook's Acoustic Soul. Zook is a band of 2 members from London on tummy touch records: SIMON CHARTERTON (percussion and drums), WILLIAM DENTON (guitar and harmonica). Tummy Touch is kind of like a ninja tune for funky soul rock heads. After hearing what Zook has to offer, I definitely need to hear more from tummy touch.

The album begins with "Slinky," kind of a slow drum kick acoustic guitar breakbeat in a way. Come to think of it that can be said for any of Zook's music on this cd. This is minimalistic music. You wont find any bloated or instrument overpopulation on music from the accumulator. Every track is recorded as if the band had absolutely no point in making any of the tracks, yet somehow each song establishes so much! With no lyrics (aside from an occasional whistle), multi-track production, or electronic equipment (yes, this album was recorded acoustically), zook takes us on a journey back into time when music was about more than just the notoriety. In fact, to them music is all about the sound impression. Modern music these days (especially radio worthy hoopla) is plagued with bulky remastered tracks and enough sound effects to overdo a daffy duck cartoon from the 30's. It's through these means that zook creates a clean sound full of warmth and serenity.

music from the accumulator gets you relaxed. To me, music is all about enjoyment. There's nothing like having it at that perfect volume (to me it's coffee shop talking level), a nice comfortable place to sit, and an appropriate atmosphere. When I listen to Zook, the lights are dim and incense burns. The windows stay shut and my cozy apartment glows warm.

As for production, zook's is top notch. Recorded with 0% electronic media, zook's methods, although daring, paid off with a warm vinyl-like sound on CD. Cymbals are sharp, bass is smooth, percussion is crisp, and ambiance is thick. For the break inspired lo-fi loving funk fans out there, there is none better than zook. Look for more music from tummy touch records, I have a feeling we'll be hearing more from them shortly.

some babble.

this is how the geeblaster does it. i brought up chris brown a few days ago and today i bring up two indie albums that kick just as much major ass.

first off is the beautiful sounds of eisley and their album "room noises."



as a special treat, i am accompanied by dan the extra funky homogalaposapien on the journey throughout the album. he states "epic beauty" to be the nature among the amazing ride they provide for the audience. the instrumentation is on-point like chris on the tackle in a fierce, intense game of madden 05'. melody, melody, melody, and melodies after that. "i wasn't compared" brings out the best of these talented beings. the introduction is soft, but very commanding. the guitar and the vocals swing together like 2 kids in the local playground. then, the drums make their way to the table, beginning a wandering journey into the meat of the song.



their songs bring out the type of feelings that only shows like "i love lucy" could. i can't characterize it, but it is something along the lines of a wu-tang clan meets kramer/larry david sort. cool calm pete and jaymanila man the group aptly titled babbetron. simply brilliant. time, meaning, the mind, all of it, where is it all in the end of things? SOMEHOW and by someway, these two likeminded individuals have answered the question. evenly matched throughout the entire album is a witt and charisma almost unmatched by any other duo i've heard within the last few years AT LEAST. listen for yourself, they speak volumes.

on live music, the rhythmatic essence of it all...

coincidence.

a holiday r and b treat for that holiday season.

Sleigh bells ringing, people overcrowding shopping malls, lots of red and of course spending some quality time with those you cherish. Ain't nuffin' like the holidays! Usually my joy is often immediately killed when something even remotely depressing strikes my imagination (ie. the Lakers getting close to beating the Heat yesterday). Yet this year, Chris Brown changed that. The dude who I once claimed in Las Vegas to "sing so high it makes me want to pee" has put my doubts to shame. "Yo" or excuse me miss in parenthesis is a song that just shouts out about the simplicity of love. The smooth beat catches you from the start like a Woody Allen introduction. The heart of the song seems like it can reach out and sock anybody in the face helping them to realize they'd just been dancing to Chris Brown, but fuck it I even admit to watching the video and feeling confident enough to try out his own 1-2 step dance moves. I guess it was just a song I needed to hear with the year coming to a close and my life amidst deep change. Thanks C. Brown, as now I finally think I can start approaching girls again! The game is back, not!

beeeeef
listening to:
coolio- it takes a thief

Homegrown: Understanding the Roots Vol. 1 & 2

I can make you dance; I can make you shout... the scripts and the scroll turn the whole party out.

What else can I say but The Roots? Nothing. In fact, I havent not been excited about a single release from the Roots since I started liking hip-hop. This next joint that is to be released sometime next year (www.billboard.com) Im pretty damn keyed up for. But for now, theres this.

So we all heard the news, if not then read about it here. The Roots have left their previous label Geffen and sprung for bigger and better things with Def Jam. Im not going to get into the politics because this aint TNT, and I dont know drama.

Geffen was nice enough to want some extra money out of the Roots by bringing us these Home Grown! The Beginners Guide To Understanding The Roots Volume 1 & 2 compilations. Sweet, count me in, Im all for unreleased, rarity, and live releases just give me some fucking headphones and leave me alone... please! After close analysis and enjoyment while smoking a marijuana cigarette Ive come to the conclusion that these two volumes contain the inferno yall. Shave before you listen to this shit because youll be covered in curled up and singed hair stench if not.

Geffen brings us many of the Roots music that weve all heard before, but in versions we havent. One particular song comes to mind when stressing this point: The Seed on Volume 2. But that song sucks! Ohhhhh no it doesnt grashoppa you HAVE to hear this live version, yes live, with emphasis on the HAVE. The Roots break it down and go off like only a true band could and it sounds fucking insaaaaane! With Blackthought bustin out men at work adlibs and ?uestlove vibin with the band (and a noteworthy percussion) the song spans for over 15 minutes and blends seamlessly with Melting Pot and Web. I had to listen to this track twice (30 minute Roots bumpage) because the recording, band, and sound these fools are capable of producing is worth every single bit of soul living, warm, funk groovin admiration they receive.

Gratefully, the Roots retained all of their rights to their music which is definitely a plus for them as well as their new label: Def Jam [DJ]. There are heads out there who are crazy upset about the Roots signing with DJ, but I think its a great step for them. I know, I know... DJ has done some booty ass hip-hop shit, but it hasnt always been bad. Ever since the somewhat recent Def Poetry Jam on HBO Ive had a newfound trust and respect for DJ that was lost long ago somewhere between the age of DMXs hype and the Survival of the Illest Tour in 1998. Aside from releasing a few ugly things here and there, DJ has held on to its roots fairly well, and respect is due for both DJ and the Roots. The Roots crew, the next movement, you are now in tune to the sounds of the Legendary, Foundation. So stop your fucking whining you fucking sissy bitch newly informed uneducated prematurely manifested hip-hop ninjas, DJ is here to stay with its new friends: the Roots.

I dont know what else to tell you all except:
1. Get these two compilations
2. See the Roots live
3. Get ready for their new Album
4. Im inspired

Blue Scholars - The Long March EP

The EP begins... horns... kick... snare... k'kick, kick snare. Look at these studs:
Cornerstone, rock rock on. Two people, just two people make this sound. One MC, one DJ. SAT Acid flashback - Geologic : Sabzi as MC is to DJ. Smooth seattle sound with creation that even gods hand would be proud of. "Going on marching left.. right.. left.. right.. left.. it goes..." I found it: to every fan of music there are a certain few groups or artists that share your true calling. Artists like j-live (7 heads), little brother, foreign exchange, and blue scholars are some of mine and they all reach me on a level that only good music could. A sense until exposed to certain forms of music remains unstimulated. It's music... no, fuck that it's art like this that makes me proud to be involved in something so pure, so fucking undeniably out of control i could scream so loud only dogs could hear me. With my colorful opinion and orgasmic mess now splattered all over your screen, I take you to the future sound of hip hop... can you hear it?

Sabzi can. that crazy persian fucker - until i read his bio on the blue scholars home page i thought he was white - can do some crazy smooth shit. Think 9th wonder in 2002... No, think primo's bakery... no, wait.. think... think outside the fucking box. Think something so abstract, so original that it's structured. In fact, you can't even hear these beats, they are the antimatter sucking in galaxies and solar systems that nobody knew existed to bring you the sound you feel, and goosebumps they do bring you. And the keys? who the fuck is on the keys? i thought this shit was made in a bedroom? show me a producer making tracks in a multi million dollar studio, and i'll show you a producer who can make heads nod on a budget. fuck the budget, it's about time, and time does tell the amount of effort and passion put into the production. I don't really know the definition of emo, but i could cry at the kick of a drum, a glimpse of the past a lone snare bringing me back.

I heard it. Geologic... Wasn't he a battle MC? so wait... this is the same guy? yep. hmm well, traditionally haven't battle MC's suffered in the past on recordings? yep. well, what the fuck? i don't know. i don't know why Geologic is so much better of a studio (and show - i bet) MC than others before him. that's what is beautiful about Blue Scholars approach to hiphop. it's planned, it's strategic... it's classic and new at the same time, it's experience, it's styles clashing seemlessly, it's true. And true this MC stays to his passion. "I wont rest until my story gets told..." After the previous re-released self titled CD that my lady picked up also released this year... this fool has more to say? well i'm grabbing a chair, headphones, and pointing my walkman to the moon in hopes of reaching that message.

The message. Positivity. A good name for hiphop... who knew there was such a thing? an art form that has such a terrible public image is blessed to have music like the long march ep and the self titled cd dropping in the same year, hell in the same decade. i'm religiously against picking up EP's, but get this one. you see it, you buy it. i'll even give you the link if you can't make it to amoeba: the long march ep. I'm buying their vinlys when i can find that shit (hint hint if you're reading).

Lyrics. Beats. Two people. Art.

Be proud hiphoppers, its music like this that gives us life.

An array of bumpage from mista kimble.

So it started off with a little hint of the classic "Luchini" before the "this is it huh" faded long into the distance. Oh how I remember that vivid Camp Lo album cover. It was definitely a keeper. He then moved swiftly onto the quaint, yet braggadocio sounds of them Mission motherfuckers or the newly titled Crown City Rockers. "Weekend soul" lives out its name in full color. Each vibe captured though the vibrant live instrumentation sparks a new mode of thought. Without a doubt (blatant Jurassic 5 reference) Raashan Ahmad keeps it smooth and lively with his patent vocals that I've locked into memory since "It's the." The list expands with two more doses of WASABI for that ASS via the Supremeex and Tajai project. "Baboo Birth" and "Meaning" travel along opposite sides to the same destination. Nani? The rhythmatic adventure of Tajai's vocals never seems to leave its presence unknown and Supremeex crafts a noteworthy barrage of beats to be laced up like the second pack of laces. One Be Lo then entered the mix with "True Love." It hit right when I heard about a fellow blazer's first hand success at HIGH testing. The beat is dusty, just like how all your records need to end up being for at least one point in time. A good blend of dusty melodies and a hypnotic beat that captures the storytelling ways to which One Be Lo kicks his raps. Lastly on this "Array of Bumpage from Mista Kimble" was "One Night" by Lawless Element. Beastly, the shit had all the ingredients to a freshly baked good: a jazzy hit hat mixed up with no bullshit lines about catching that one girl that makes you say "god damn" after two drinks. Its good, job well done Kimble-san.

currently bumping:
kavet the catalyst- odd to the eye
blockhead vs. omega one- we didn't invent the remix

Sound Directions... A Funkier Side of Madlib

So I don't know what hiphop is any more. Hiphop is street hoods, gangstas, suburban backpacking kids... and funk bands? DAMN you Madlib!

I've always been a fan of orchestrated music, whether it be classical or jazz. Something about it makes me warm and happy, and Madlibs Yesterday's New Quintet gives me the same feeling. Fans of the new era of soul and funk bands should have absolutely no trouble accepting Yesterday's New Quintet's newest works: Sound Directions: The Funky Side Of Life into the rebirth of the 1970's funk collections.

So why is somebody like Madlib creating works of art that would make Smokey Robinson, Kool & the Gang, and Earth Wind & Fire proud? I'd bet that his parents put him up to it. It must be a metaphor for washing ones' mouth out with soap. All kidding aside, Madlib brings the fire continuously. And who said Madlib was overrated? I'm not naming names... But they obviously hadn't heard this (or any of the other Yesterday's New Quintet productions). In fact, it's hard to believe the same person was behind much of the hiphop that many of us love like the Lootpack. Talk about versatile. DJ Premier who? Seriously, digging to the next level - I love it. If you haven't already, check this CD out. Make sure to listen to track 10 entitled "One for J.J (Johnson)" 10 times or else you get bad luck for 10 years.

"Her attitude is hotter than the earth's core"

Sex. We all love it, need it and enjoy it. So why not have a certified banger to unconsciously get you into "get your fuck on" mode. I mean you don't even need to be doing the dirty to enjoy the superb soul of this song. Yes, Pharell has really kicked the shit to Mars with the melody he creates, one that you can't ever seem to get out of your fucking head. Toss in the soulful harmony of Robin Thicke and there you have it, instant sex music. Slow your roll and just listen to the lyrics for a minute or so. Immediately your mind will set ablaze and you too will get lost in the song. The drums shake and shimmy. Lyrics close to perfection of the feeling trying to be conveyed. "I wanna love you girl" is by far the song of the year for me as of right now. Wait for the breakdown and stop to think. What is the first thing that comes to your mind? Yeah, exactly! So say it aloud, be proud and GET DOWN.

Skateboard P and Thicke "I Wanna Love You Girl"

you want the song, i send you.

After the end of the song, I came to the realization that this song is more about the single moment of excitement before you meet up with your significant other. Beans!


{simple, stupid}

He's the DJ... Who needs a Rapper?

10 years ago who woulda thought that the Fresh Princes slapstick cameo ghetto friend would still be pumping out great music in 2005? Not me. It all started with being Will Smith's DJ. Hiphop at that time was still fairly undeveloped and experimental. It was all about having fun. After Jeff's and Smith's collaboration (but not friendship) ended, Jazzy Jeff took on an underground loving, jazz spinning and outspoken approach to hiphop that I as a west-coast hiphop head thought was lost long ago with Jeff. I expected him to be on the jiggy tip with Will Smith's premiere solo album Big Willie Style in 1997. Thankfully he wasn't.

With the beginning of Will Smith's solo career, spawned Jeff's solo love for great music. Jeff released the Magnificent in 2002 which featured J-live, Freddie Fox, Last Emp, and Jill Scott. The Magnificent is a dope collection of music, and we already know how much I love J-live so naturally I bumped it for months and to this day still resort to it when I get musically thirsty. In 2004 Jeff released In the House which (for a house album) I really liked. Smooth house music complimented by Jeff's legendary jazzy style.

Now, here's The Soul Mixtape. The mix begins with a soft, soulful song by Eijay that eventually evolves into a Rhythmn & Bluesish feel. I say Rythmn & Blues instead of R&B as this is not your everyday Usher, Beyonce, or 112 "Artist bending over for the label" shit, and thank god. The Mix continues with soul-soothing sounds from Josephine Sincere, Michael Bohannon, Kelli Sae, LaSonya Gunter, Ladybug Mecca (of Digable Planets), Demien, Soulo, Mitsu, Dwele, Pete Rock, Leela James, Valencia Robinson, Omar, and Angie Stone. If you don't already know these artists, prepare for the best. From start to finish, this mix sets the premisce for naked, hot, gushy love-making. It's not hiphop, but it carries the culture and style that makes good music GREAT, and I can dig it. That's love. Legendary.

Q and A

i got a couple questions for all you canklers and wafflers out there...


1) Favorite song to listen to when alone and sober?

2) THE Candy to eat when drunk?

3) Movie that makes you walk with a swagger after watching it?

4) What super power would you have if you could have 2?

5) Random Statement!

6) Give me a rapper name!

Ta Det...HUH?

Picture a really big purple fucking elephant sitting in your usual desk in lecture. You feel like asking it to move from where you normally fade in and out of the world, but what would it say to you? What would it do to you? Who fucking knows, the random point is in fact that the kickass record I'm "finna" speak upon was found out of good old fashioned luck. I figure it's best to be productive when in doubt, so I decided to download a shit of the indie-rock music suggested via amazon's listmania things. Built to spill, depeche mode, the decemberists, deerhoof, bright eyes and DUNGEN. You can only guess which one I immidiately explored first. Fucking DUH, DUNGEN. This shit is straight out mind boggling. Instrumentation is solid at the core. Scenic vibes are knocking and epic. Vocals are smooth and relaxing. Has that 1959 vibe to it. Although the lead singer's language may be completely foreign to any mode of my normal being, we still seem to make a connection. I feel the fade in his voice. I feel the rhythm in his fluctuations. He draws you into what he's saying even though you can't understand it. It's what I always hoped to find, a mix between jazzy drums and psych-rock upliftment. Classy, yet crafty and nasty.

Dungen- Ta Det Lugnt

by it or suffer mad, yo.


banger: "Om Du Vore En Vakthund"

Ninja Tune Big Dada Sampler

Ninja Tune: Known for their elaborate group of artists which have made every part of the electronic music spectrum a whole lot better, this sampler is no exception. I was given this shit from a friend who has a leg in and I'm glad it was given to me to check out. This shows exactly where electronic music and hiphop should be going, and I look forward to it evolving more towards what Ninja Tunes' artists are set out to achieve. The track listing alone would make me buy this even with an empty stomach, dirty clothes, and sockless. Many of my favorite artists (not only Ninja Tuneans) appear on this album, such as (in order of appearance): Amon Tobin, The Herbaliser, Jaga Jazzist, Roots Mauva, Ammon Contact, One Self, Airborn Audio, Dwight Trible and the Life Force Trio, Mr. Scruff, TTC, Fingathing, and Pest.

Production has never been a problem with Ninja Tune. Their samples, drums, bass lines, and sound quality is top notch and cannot be touched. Surprisingly it wasn't Amon Tobin or the Herbaliser that musically rendered me speechless - it was Mr. Scruff on the track Chicken in a Box, which is a pleasant surprise. It's always great to find new music and new artists to listen to, it's like falling in love with multiple women all at once, and if any sampler could do that to you, it's this one. From start to finish, the cd is enjoyable with pleasing drums and synthesized electronica bliss to sooth the soul. I have come to expect great things from Ninja Tune, and this just goes to show we can all continue to do so.