Lil Wyte The One and Only Review

Most of y’all probably don’t know who the hell Patrick Lanshaw aka Lil Wyte. There are probably a few faithful Three 6 Mafia/Hypnotize Camp Posse fans that are familiar with his work including debut Doubt Me Now and follow-up, Phinally Phamous, which are both respectively decent efforts. For those of you who don’t know jack shit about Lil Wyte here’s a brief spiel. Lil Wyte is known for two things: being the white boy in the Hypnotize Camp Posse and being noticeably better (lyrically and flow-wise) than his Hypnotize Camp Posse brethren. Oh also, he was that grungy looking white guy off of MTV’s Hollywood—the reality show with Three 6. With The One and Only, Lil Wyte plans to establish a name for himself nationwide as a solo artist and most likely get some greenbacks for more drugs.

“The One and Only”
Lil Wyte’s voice is grating, really grating. Wyte uses this intro to let detractors know he hasn’t overdosed (no, seriously; apparently, there was a rumor he had croked), also how much money he’s been making and announce his clique affiliations. He also claims 07 will be his year; something we haven’t heard 100 times already this year from other rappers.

“We Ain’t Kool”
This track sounds like good ole Three 6 Mafia, punch a n***a in the face chant/crunk music. Lil Wyte in this track raps about (surprise, surprise) whooping people’s ass. This track is one of those fight music tracks. It’s dark, angry mood music, but not really that good.

“I Got Dat Candy”
“Got Dat Candy” is Lil Wyte’s ode to candy-coated paint, rims, flexin’ (Memphis’ version of Texas’ swangin’ aka reckless as fuck driving) and loud beating speakers; a Southern staple I suppose. The only highlight of this track is the production which is done by DJ Paul and Juicy J. The beat is infused with sirens, synthesized piano strokes and strong bass and has a section where it breaks into marching band-esque drums.

“That’s What’s Up”
Lil Wyte rhymes on this one about purple Sprite aka lean but does manages to address cynics of the South. He does so with “I feel Bun B and Pimp C when they say y’all need to stop hatin on the South/cuz’ we just tryin’ to make it like the rest of the muthafuckas is/I got talent and raw skills to pay the bills so I’m gonna rock the biz.” He also talks briefly about selling albums internationally and how Memphis has built him mentally, physically and spiritually.

“Talkin Ain’t Walkin”
Paul and J put together another murky, dark beat. “Talkin” is another fight song; not much else to it.

“Get High”
The track title tells the story here. Lil Wyte displays why people may have suspected he overdosed with this track delving into his obsessive weed smoking habit and the different varieties of weed he chiefs on.

“It’s On”
Lil Wyte on this one raps about his trapping habits. He talks about the money he makes, his drug transactions and what’ll happen if you don’t have his money; dismemberment and death.

“Feel Realin Pimpish”
Wyte talks about cleaning it up (fresh clothes, jewelry and clean shoes) and the feeling associated with it on this track. Project Pat makes a feature, but only on the hook which sucks as I am growing tired of Wyte’s shrill and annoying voice.

“Get Wrong”
Another “fight music” track; not really talking about much more then get fucked up and punching somebody the fuck out.

“Choppa on the Back Seat”
This ought to say it all: “you deep down in the dirty/you chirpin nervous like a birdy, birdy/did you heard me/don’t ya worry/let me cleverly reword it.” Granted this is not a lyric-driven album, but the above is ridiculous. Kids write better things with crayons.

“Gettin’ Money Boy”
Lil Wyte goes on to describe how people tend to hate once you start making guap and about boast his monumental acting career (Choices I & II).

“Cake”
Wyte provides a mini biopic and manages to provide a quasi-positive message saying:

if you hatin’ cuz I got it/you’re a got damn dummy/put your brain in some books and quit worryin’ bout these hoes/either get a nine to five or start sellin’ dro…I ain’t always have cheese I used to be very broke/that’s when I realized I could flow and I jumped up on a track/I was only 17, a studio is all I lacked/now I’m 24 and got currency by the stacks/M-town rebel, liquor sipper and the South’s on my back.

“Got’m Lookin’”
You can skip past this track and not miss anything in particular.

“Fucked Up”
Juicy J recycles his “Maker’s Mark, cranberry vodka” quote for the hook on this track about binge drinking.

“Suicide”
“Suicide” is a unique track where Lil Wyte rhymes about purposely overdosing because of the overwhelming issues he has to deal with in life. Although the tone of the track is very bleak and depressing, it does deserve some merit for delving into a topic that is taboo in rap music.

“Ghostin”
“Ghostin” is dual ode—ode to ghostridin’ and chopped and screwed music—although Wyte barely talks about ghostridin.

“Do It Fluid”
Lil Wyte explains what “do it fluid” is here: “I need my do it fluid/what’s your do it fluid (adlib)/I knew you would ask/whatever liquid you put up in yo body whenever you wanna get trashed.” So, I suppose this is another drinking song.

“Dat Boy”
This track talks about career (album by album) and he explains that this album is going to be his breakthrough album. I doubt it.

“Gun Do Da Talkin’”
The lackluster conclusion to a terrible album.

“Outro”
The typical Three 6 Mafia outro where the guys go through their future efforts.

The One and Only is a prime example of how drugs can warp your mind until it’s a sack of dust. Most of the track lack focus, coherency or any type of direction whatsoever. The lyrics are kin to 10 year old scribble and well…I could go on for days trashing this album but I’ll just say it sucks. I’m just mad that DJ Paul and Juicy J wasted 19 beats on this effort and gave Project Pat (Juicy J’s brother) some real shitty tracks for Crook By The Book. Most of this album I spent wishing Juicy J, Paul or Pat would rap but they never did. Instead, I received about an hour and some odd minutes of Lil Wyte which is an hour too many for me. The fact of the matter is if your music is not going to touch someone in a profound way it should at least stimulate you to feel or do something (drink, smoke, dance or fight) but this album fails to do that. Avoid listening to this, unless you're masochistic.

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Cocaine on Roids

Lil Wyte The One and Only

I try to cater to a wide variety of readers so I figured somebody, somewhere might want it.


Lil Wyte The One and Only

T.I. Vs. T.I.P. Album Review

The melee that ensued between Clifford Harris (T.I.) and Chaka Zulu, Ludacris’ manager, provides an intriguing backdrop for T.I.’s concept album, T.I. vs. T.I.P. It makes you wonder, are there really two different personalities within him or is this some grandiose promo charade. This idea initially manifested itself on Trap Muzik on a track titled “T.I. vs. T.I.P.” but now, we get to see this whole inner conflict unfurl over a whole album.

(Enters T.I.P.)
“Act I (T.I.P.)”
Over Congo-like drums (produced by Kannon “Caviar” Cross), the impatient T.I.P. expresses his frustration with the politics of the music industry and phones up Atlantic Records to put in his resignation. Flow-wise T.I.’s verse is solid but the focus more so seems to play out this character motif.

“Big Shit Poppin’”
“Big Shit” is T.I.’s lead single; a watered down “Top Down.” T.I. introduces T.I.P.’s personality on “Big Shit.” He describes T.I.P.’s traits with “I do it to the maximum/tell ya’ why askin’ them/don’t listen to them suckas when they say you too irrational/I said I was king and them lames started laughin/them same suckas now want the king on a track with them.” T.I. for the rest of the track professes how T.I.P still has that hood mentality (sells squares, squeezing triggers, spending hella money etc.).

“Raw”
On this track, T.I., questions the authenticity of (insert your favorite rapper’s name here) and lets those who are plotting on his throne know “that as long as he’s alive they’ll have to settle for second.” I see even T.I.P. can throw subliminals (possibly at a rapper from the NO, possibly not).

“You Know What It Is”
Wyclef does the production on this one, and provides the exaggerated West Indian accent on the adlibs. The subject content starts becoming repetitive as T.I.P. rhymes about toting guns, spending money and selling dope.

“Da Dopeman”
Here we find T.I.P. late night picking up a dope boy (sounds like Young Jeezy) who’s stranded trying to sell some purp. Because T.I.P tries to convince the d-boy to get out the drug game, said dope boy questions T.I.P.’s credibility as a street pharmacist and the track commences with T.I.P. providing a “Ten Crack Commandments” esque instruction manual for trapping. Although T.I. condemns the lifestyle calling it a “dead end street,” sadly most cats will only remember the glitz and glamour he describes from banking off the pies and cakes.

“Watch What You Say to Me”
Irony is a bitch ain’t it (reference T.I.’s debacle with Chaka Zulu). T.I.P. reminds off us how short his fuse is on this track describing a club scenario where a smart mouth cat catches a Moet bottle to the head for running his mouth recklessly. But let’s not kid ourselves; the real headline of this track is Hova and the conspicuous shots sent at Weezy. Jay rhymes “lock them up in a booth with a half ounce of the cane/and sit back and watch the outlandish shit they portrayin’” and “I hear you baiting me lately/I been doing my best just to stay hater free/but still…watch what you say to me...sooner or later I take you up on your offer/and put you all in your place like I’m replacing your father.” Whoa.

“Hurt”
On the first of three Danja’s (ghostproducer for Timbaland) outlandish, but wildly dope, beats T.I.P., Alfamega and Busta Rhymes rhyme about not confusing rap life with real street life basically the same shit that’s been discussed thus far just to a faster tempo and better beat.

(Enters T.I.)
“Act II (T.I.)”
T.I. awakes to the aftermath of the rampage T.I.P. went on and a close friend relates to T.I. what his alter ego said and did.

“Help Is Coming”
T.I. spits about slumping album sales, bootlegging and decreasing market share and how the above won’t affect him. This track is about T.I. saving hip hop. In his last verse, he proclaims he is hip hop with “the fans and the critics think hip hop missin’/here’s a little proof that hip hop livin’/you can hear hip hop talk, now just listen/and see hip hop hang out with 6 bitches/in the Atl, see hip hop chillin’/in a multi-million dollar crib hip hop in him/ you know how many different cars hip hop drivin’/nigga I’m everything hip hop’s missin’.”

“My Swag”
“My Swag” is another Wyclef produced track, but on this track T.I. alters his flow a bit to mesh with the beat. On the track T.I. rhymes about his travels in a “Been Around the World” fashion (word to Puff).

“We Do This”
This is the stock track where T.I. boasts his many material possessions and lavish spending habits. T.I. has made tracks like this before. In fact, he does it on every album.

“Show It to Me”
As if the title doesn’t tell the story here…T.I. spends most of his verse addressing an imaginary contender which is odd because this track is seemingly a track catered to women. With his last couple bars, he tells a chick to back it up while tossing some stacks at her. Longtime collaborator, Nelly graphically describes sexual things he’d do to and with a chick.

“Don’t You Wanna Be High”
On this Runners produced track, T.I. rhymes about falling in love with a suburban chick, going on expensive shopping sprees with said chick and drilling said chick.

“Touchdown”
“Touchdown” is another major feature; this time with recluse, Eminem. I don’t know why cats still let this guy produce tracks. His beats are weak. Usually Em is good for a dope 16, but he manages to put together a surprisingly forgettable (wack) verse. In the last verse, T.I. outshines the white boy with introspective lines like,

it’s ironic how the shit that we’re rhyming makes us psychotic/threaten corporate America that’s why they runnin’ from us/how could they be so ignorant/look at what hip hop has got us/allowed us to run a business/legitimated our money/got us out of the ghetto and relocated our mommies/I made all the way here/ain’t no way you taking this from me/so excuse me Oprah honey, I’m sorry, really I promise/niggas, bitches, and hoes do exist, I’m just being honest.

(Enters T.I.P. & T.I.)
“Act III (T.I. vs. T.I.P.)
The two battle it out in the mirror and T.I. ends up smashing the mirror, but before T.I.P. exits the building he has one more thing to say.

“Tell Em I Said That”
This is the second Danja track; which turns out to be another impressive sonic and synth infused track. T.I.P. on this track rhymes about how fake rap cats are and even goes into detail about how an imaginary rapper created their image. He tells them “you damn right/these niggas don’t have the rights/to rap about the things I did ev’ry night.”

“Respect This Hustle”
T.I.P. and T.I. argue at the beginning, but the track is about exactly what the title of the track is and how far T.I.P. and T.I. will go to get others to respect their hustle. T.I. also tries to convince T.I.P. to let go of his gutter ways and finally kicks T.I.P. off the album.

“My Type”
“My Type” is the dramatic conclusion and a bid farewell to T.I.P.

I have ambivalent feelings about this album. From a creative point of view, this is an extremely dope album. Most artists have a concept for their album but by track six it turns into a piecemeal amalgamation of bs. On this T.I. follows this split personality motif all the way through to the end and it actually narrates a cohesive story. Both characters have distinct personalities and T.I. even goes as far as to alter his voice when he’s being the easily incensed T.I.P. As an artist who’s went platinum on multiple outings, he didn’t have to take this risk but he had the courage to be creative so on that front, you have to respect and applaud T.I. for putting out T.I.P. vs. T.I. But, on the contrary, neither T.I. nor T.I.P. break any new ground as far as subject content and most of the songs sound similar to songs he’s had on past efforts (i.e. new production but identical subject content). Lyrically, he doesn’t make any progress either but based solely upon the overall presentation—attention to detail, ridiculous production, the biggest features and the drama of the unfolding inner conflict—you have to at least give this album a listen. Bottom line: really good album, not a classic, but damn good.

That New Clifford Harris

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Cliff Harris vs Cliff H.

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A Lil' Late But What the Hell: Talib Kweli-Eardrum Review

In today’s rap terrain, it’s becoming more and more difficult to support the music.
While a handful of bright emcees make you feel proud to be apart of this culture, a swarm of others make you want to shun it. Talib Kweli is apart of the elite that reside in the first group. It’s been a long journey since the Blackstar album, and it seems Talib has been getting closer and closer to finding his niche with each solo effort. On Eardrum, Talib’s plan seems to be simple, just do him.

Talib’s Eardrum offers a plentitude of variety. “Soon a New Day” puts together an unsuspected enjoyable collaborative effort meshing host, Talib, Norah Jones and Madlib (on the production tip). In this track, Talib attempts to enlighten those promiscuous club dwelling women and tries to empower them preaching self-love while Norah Jones’ harmonious crooning fills the hook. Talib’s personality as a promoter of progress allows him to pull this collaboration off nicely and he does so with positive quotes like “maybe they should realize their own beauty/baby you a star/not just a star in some dude’s home movies.” The will.i.am produced “Hot Thing,” hints at a more devious intent. This track describes the curves of voluptuous women in the first verse, their varying styles (country girl/city chick) in the second and the effect they have on the author of this track in the third. “Hot Thing” has strong single potential because of its soulful handclaps and quicker tempo which is suitable for the club or a club-like environ. It doesn’t have the feel of a forced club banger either. It comes off as natural. Another track that has club potential and assuredly directed to the ladies is “In the Mood.” Kanye West lends his aid on this track in which Talib attempts describe seducing women in the club and getting directly to the point if you know what I mean. Kanye and Talib show great chemistry on this one as Kanye’s beat provides the mood and feel of a late night in a steamy nightclub while Talib’s words complete the cipher with frank and direct lyrics.

Talib also delivers the substance he’s known for providing on the “Hostile Gospel” with some insightful social commentary. He rhymes about the current state of the minstrel show/rap saying “Hip Hop the new W-W-F/do you rap or do you wrestle/niggas love to forget.” Later in the track he address identity issues (black kids wishing they were white and vice versa), the defunct healthcare system, and myriad other issues. Just Blaze lays down the track with hints of the organ and heavy piano strokes to actually make you feel like you’re at the tabernacle. On “Eat to Live,” a concept track, Talib proffers a narrative about a youngster walking the city blocks with an empty stomach because of his poverty. The initial verse seems to hint at empowering black youth so they stand a fighting chance in society. In the latter verse, he mentions the African plight in relation to food shortage and how we (Americans) have more than enough but our food is tainted in a variety of ways. Talib even takes it to a new place on “Country Cousins” featuring UGK. On this track, Talib explores his perspective of the South as a youth and how his perspective expanded from a shortsighted/NY-centric point of view to a more enlightened view of rap and Hip Hop from other regions while Bun B and Pimp C each respectively big up other regions in their stanza. I think “Everything Man” encapsulates the album in one track. The intent of the track is seemingly simple. He’s admitting his limits and that he can’t be everything to everyone, all he can do is do him; a fitting summary of this album.

Talib Kweli’s Eardrum is a mature effort that shows substantial growth. It’s a well balanced LP showing equal parts of Kweli’s character. There’s carnal tracks about seducing women; tracks that empower women with self affirmation messages; tracks that comment on society; tracks that are very personal to Kweli where he talks about his family life. There’s a track for every mood on this album. Earlier I mentioned Kweli would attempt to find his niche on this album and he does just that. The album feels seamless at times. It’s very apparent by the list of producers, lyrics and subject content that there was a lot of attention put into the details of this album which is why it’s so damn good. This album could very well be one of those albums where a different cat could pick any one of the tracks to be his favorite. This is Hip Hop music at its finest and if you enjoy the above, then cop this.

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Pharoahe Monch: Desire Review

Pharoahe Monch-Desire

It’s been almost a decade since Internal Affairs, Pharoahe Monch’s debut solo LP, dropped. In rap, that’s an eternity. To say Pharoahe Monch has been ghost would be an understatement. I could write about whose projects Pharoahe Monch ghostwrote for or about how much drama he’s had with record labels or how highly anticipated this album is to so many people but cats really want to know what’s good with this new shit. So, without further delay…

“Intro”
Pharoahe, unlike most emcees, uses his intro wisely. He utilizes it to set the tone of the album using a Negro spiritual to proclaim freedom from the bullshit and politics of the major record labels.

“Free”
Pharoahe uses this track to uncover the dirt, grime and iniquity present in the music biz; definitely not the typical rapper’s subject content. His verses delve into the parallels between slavery and the rap game i.e. the record label = the plantation, the A&R = the house nigga, the emcee = the slave.

“Desire”
“Desire” is Pharoahe’s testament to his passion for creating music. Lyrically, Pharoahe exhibits his superiority on this effort with lines like “New York City respect my game like Joe Namath/and I protect my name, like yo anus/in prison…” as well as an analogy comparing the writing process to the reproductive organs/natal process. He rhymes, “the book is an ovary/the pages I lust to turn/the pen’s the penis/when I write the ink is the sperm/desire, the fire that ignites the torch that burns.”

“Push”
This effort is about maintaining perseverance in difficult times. The brass horns play a simple section as Pharoahe and featured songstress, Mela Machinko, croon about overcoming tribulations. Pharoahe doesn’t rhyme until deep into the track where he manages to sneak some brief political commentary in.

“Welcome To the Terrordome”
Just when I realized Pharoahe hadn’t begun relating his conspiracy theories, “Welcome To the Terrordome” commences. Pharoahe summons the energy, feel and message of Chuck D to simultaneously tell you to open your eyes and alert you to the corrupt bullshit the American government is pulling on its citizens.

“What It Is”
This is the “don’t get it twisted I’m still a real n***a track.” This effort comes together nicely as the production and rhymes blend to give you that guttural, grimey feeling.

“When the Gun Draws”
“When the Gun Draws” explores gun violence in America. Pharoahe takes the perspective of a bullet personifying it as a calluous, soulless slave that only answers to the trigger. He describes in detail what the bullet mercilessly does to its victims and also lists victims of government-orchestrated assassinations (Martin Luther King and JFK).

“Let’s Go”
This is the first track I wasn’t thoroughly impressed with and it’s not so much because it wasn’t dope, it’s just not as good as the shit prior to it. It’s still worth a listen because of some of the punchlines and the parody at the end—that shit’s hilarious.

“Body Baby”
This track sounds like an experimental effort. It summons several genres including swing, a little bit of rock and up-tempo blues; a good artistic venture.

“Bar Trap”
This one puts Pharoahe in the club scenario as he relates a narrative about his bagging of a female, their interactions that follow and his desire to well you know, get horizontal.

“Hold On”
Erykah Badu blesses the hook on “Hold On” as Pharoahe delivers a tale of self actualization as he follows a girl from being berated as a child because of her skin color to her, later in life, embracing her pigment as a gift from God.

“So Good”
“So Good” is one of those “deeper—physical and mental—love tracks.” Not my thing, per se; definitely a down tempo record for Neo Soul/Hip Hop chicks.

“Trilogy”
The album reaches its creative climax on this 3-part tragedy narrative about adultery and murder. Pharoahe glides through this track effortlessly not sparing any details in his story. The story unfolds in media res (“in the midst of things”) as Pharoahe finds himself surrounded by police with guns drawn. Each act in this track brings you one step closer until you get to the shocking end of this tragedy.

Desire stands as a testament to the artistic potential of Hip Hop. It’s not base and pointless street narratives about shooting 38s and 45, it’s verbal literature chalk full of creative imagery and myriad literary techniques. It’s not grandiose, gaudy production done by the prima donnas of the rap game. Instead it favors the soulful sounds of Black Milk, The Alchemist and Pharoah Monch himself. The lyrics aren’t dumbed down for a younger audience. This is lyrical exercise laden with similes, metaphors, allusion and all that dope shit. This is real Hip Hop. This album is the result of passion plus talent plus creativity and bar none the best album of 07 though far. If rap has saddened you with its lack of intelligence and creativity, Desire will assuredly wake you up from the mental slumber mainstream rap has put you in.

Pharoahe Monch-Desire