Category: Reviews
Emile Haynie: “Wait For Life”
Emile Haynie certainly isn’t the first name someone would mention when asked about a hip-hop producer, but a look at his credentials begs the question: why don’t I know who this is?
In his decade-plus career, he’s teamed up with the likes of Kid Cudi, Eminem, Kanye West, Lana Del Rey, and Bruno Mars, just to name a few.
Today, the lush first track of his forthcoming debut album, We Fall – out on February 24 through Interscope – was released, the pleading “Wait For Life” featuring Lana Del Rey.
Peaceful steel guitar chords and strings effortlessly create the Paradise-like sonic atmosphere for the duration of the song, as they’re backed by Del Rey’s sultry siren-like harmonies and musings about being lonely (I wait for life to end / But it never comes around), a perfect intersection between the trip-hop of 2012’s “Born To Die” and 2014’s subdued neo-jazz effort “Ultraviolence.”
The album is slated to contain features by other artists Brian Wilson and Lykke Li. If “Wait For Life” is any indication of what we should expect from the rest of the record, the wait for next month will be equally as long.
4/5
The Delta Riggs: ‘Dipz Zebazios’
Bored with your current playlist? Looking for an album of pure gold? Look no further.
Australian-based band The Delta Riggs have just released their newest album, Dipz Zebazios, and there’s a good chance it will blow your mind.
The psychedelic rockers, self-described as “Outerspace Australians” on Instagram, are set to open for a Foo Fighters stadium tour in their home country, along with popular punk rock band, Rise Against. Although the band has garnered attention at home, they seem to be a hidden gem overseas.
Dipz Zebazios is The Delta Riggs’ fourth studio album since their first self-titled EP in 2010.
Comparable to fellow psych-rock band Tame Impala, they most definitely know how to successfully blend trippy with catchy, as heard in the album’s first single, “Supersonic Casualties” and the ultra-acid, likely hit, “From My Mould”.
However, Dipz Zebazios isn’t lacking a bit in voltage. Songs like the album’s second single, “The Record’s Flawed”, and super-charged “Telescope House”, offer upbeat electric guitar riffs that would be recommended for fans of The Black Keys. On the other hand, “No Friends” is reminiscent of carefree punk greats, like The Stooges and Red Hot Chili Peppers.
And yet again, the album seems to hook the audience with slower songs that are strong reminders of the same type of dreamy feels of Portugal. The Man. Specifically, in “Ornate Delicate Creatures”,“Star Eyed Families”, and album closer, “From Above”.
On top of it all, lead singer Elliott Hammond, former instrumentalist for Wolfmother, shares striking similarities with fellow accent-baring vocalists Alex Turner of Arctic Monkeys and Liam Gallagher of Oasis.
Although all these things may seem to illustrate the album as a rip-off of multiple artists, it is shockingly the exact opposite. Dipz Zebazios achieves something that every band wants to do, yet hardly any band can pull off: being influenced by a plethora of people, yet funneling that in to a distinct, one-of-a-kind sound.
As you take a trip through this album, which you will most definitely do, it all feels vaguely familiar, like something you can’t necessarily put your finger on. The Delta Riggs have successfully combined geniuses of different decades and genres, added a modern touch and successfully made it flow into one smooth and unique sound- and called it Dipz Zebazios.
In a day and age where most don’t pay for music, this is the one to buy. Add it to your Christmas wish list if you have to. Dipz Zebazios is The Delta Riggs’ pathway to international success and is perfectly, outta this world.
5/5
Haerts and Mikky Ekko at The Masquerade
The Masquerade is always an interesting place to see a show. Not necessarily in a good way. Being divided into three venues (Heaven, Hell, Purgatory), there are often conflicting events pulling disparate crowds into the same building. It can be a little awkward. But Friday night was a special one, indeed. Right across the hall from Purgatory, where Mikky Ekko and Haerts were billed to perform, Hell was playing host to a Wizard Ball. I’ll leave the imagery up to your imagination, but suffice it to say upon entering I was wondering if I was the only person not in costume.
Purgatory is the smallest of the three venues, and the room was less than half full before Mikky Ekko (born John Stephen Sudduth) took the stage. I will admit that I came into the show largely unfamiliar with Mikky Ekko’s catalogue, aside from “Stay,” the 2012 Grammy-nominated duet he recorded with Rihanna. Sudduth grabbed mine and the rest of the crowd’s attention pretty quickly, though. By the second song, I was sold. The guitarist definitely stole the show in these early numbers, but it disproved my earlier notion that Mikky Ekko’s music was slow and sleepy.
Moving into the super soulful “Mourning Doves,” Sudduth opened up and unleashed his voice in a huge way. Now I see why he’s fronting this band without playing an instrument; his is built in. For “Time,” the title track off his forthcoming LP, the drummer and synth player left the stage, allowing Sudduth’s voice to take an even more leading role.
“Pull Me Down” is Mikky Ekko’s oldest song, created with Clams Casino at the production helm, and it was a crowd pleaser for sure. The next stretch of songs really saw the band coming together as a whole, creating a huge, cohesive sound that filled the room with energy and emotion. “Pressure Pills” offered hints of hip hop in the beats and “Pretend You Care” carried this feeling as well with deep bass notes and a really interesting drum machine sound. The guitar-driven R&B Mikky Ekko offers is definitely at it’s best when the full potential of all of his band is used, and these three songs were by far the best of the night for me.
Before closing out with an epic performance of “Smile,” Sudduth explains that because Atlanta feels like home (he went to college in Macon), he’s going to play a song he didn’t think he would play again, the aforementioned Rihanna duet “Stay.” No, Rihanna didn’t make an appearance.
A night of incredible singers indeed, Nini Fabi of Haerts wasted no time warming up her vocal chords on “Be the One” and stand-out single “Hemiplegia,” the opening two songs of their set. Side note: hemiplegia is condition that Fabi has struggled with since childhood which causes half of her body to lose feeling and renders her unable to speak. She explains that the song is not about the condition itself, ”It’s a metaphor – you see exactly what you want to do but you can’t. Who hasn’t felt that way?”
Fabi creates her own little rhythm section on the next couple of songs, employing a circular string of bells on “Lights Out” and a tambourine on “No One Needs To Know”. In the early moments of “Call My Name,” she looks over her left and right shoulders, making eye contact with her band, and you can feel the connectivity between them as a group. This is something the band has been pretty open about; their closeness as a creative force is no secret. In fact, Nini and multinstrumentalist Ben Gebert have been making music together since their early teens.
There’s an over exuberant fan in the front row belting out the words to “Call My Name” as loud as she can scream and rather than seeming annoyed, Fabi actually embraces the excitement, and it seems as though she’s almost performing for her specifically. She even calls her out between songs “That’s really great up front; let’s see if you know this one.”
It was “All the Days” …and she knew it. The most interesting part of this song for me was the closing section in which Fabi used her double mic setup to echo herself with complimenting vocal effects. Pretty cool to be able to recreate layered vocal tracks in a live setting.
“The Creek” was a new song, and one that sounded completely different than what we’ve grown to know from the band. Unlike the anthemic build ups of many Haerts songs, this one was very up-and-down with very distinct changes in pace ranging from the hushed opening to something more reminiscent of guitar rock than Haerts’ brand of sweet indie pop. The crowd absolutely loved it.
But not as much as they loved the next song, “Wings,” the first single the band ever released and I assume the inspiration for the tattoo inside Nini’s left wrist. She has a genuine smile on her face as she dedicates this one to the crowd before soaring into a beautiful performance of the epic single.
There’s a pause after this song in which she tells a short story about recording their song “Hope” in a 2-minute record booth at Third Man Records in Nashville. She had teased earlier in the show about having a contest coming up in which they would give away “a lot of money” to which I quietly responded “or a piece of vinyl you just recoded in Nashville?”. Being the responsible journalist that I am (cough, cough), I had seen mention of this on their Facebook when doing a bit of research the day before the show. I guess that was my winning ticket to the contest, because she handed me the one-of-a-kind 6” record and proceeded to perform the song, followed by the closer “Giving Up.”
It sounds way too trite to even write this, but it’s my honest perception that there really is so much heart in this band. From the way they describe their own story (at length) in their bio to their creative connectivity and passionate musicianship to their inspired songwriting, Haerts take their craft seriously and the emotion comes through ever so clearly. Their performance was epic, beautiful, enchanting, spirited, and inspiring, and it let me forget – for about 45 minutes – that there was a mini Dragon Con happening in the next room.
WYATT: ‘Here Comes Everybody’ EP
Representing New York City, WYATT releases her newest EP Here Comes Everybody. Better known as singer/songwriter Maddy Wyatt, her style is generally described as indie folk pop, but her EP diverges into psychedelic effects and French lyrics, influenced by WYATTS’s own family line.
“Palacyum” opens the EP with a simple beat and a 90’s rock vibe. A slight echo effect and smooth lyrics debut WYATT’s flawless vocal range.
“L’ete,” which translates into “the summer,” follows with WYATT’s French incorporation. Her soft vocals and ethereal “ooh’s” and “ahh’s” embody the attitude and sensuality of France.
“Up & Up” lifts us from a hazy summer in France with a psychedelic rock beat and groovy sound effects, while “4 & 20” mellows things out with airy harmonization and more of WYATT’s French lyrics.
Closing the five track EP, “Walking Down 6th Ave in the Sun” continues with the softer sound and goes back to WYATT’s signature folk sound and Stevie Nicks-like lyrics, “We are the moon howlers.” According to WYATT’s website, the song came in a flood as she was walking through her Brooklyn neighborhood. The track ends the EP on an uplifting note.
Throughout the EP, I could not help but be entranced by WYATT’s liquid voice, which jumps from low to high in a switch. Even watching live performances, she sings as if she were reading a fairy tale.
WYATT takes us through snippets of her history and feelings with sounds that come from Wyatt’s background in cool Colorado, the fluidity of the French language and New York’s energy. All of this combined to make up a simple, but playful little EP.
3/5
AC/DC: ‘Rock or Bust’
After what proved a difficult year for the band, AC/DC released has their first album since 2008 and sixteenth studio album of their career today.
During September of this year, founding member Malcolm Young departed from the band. Just less than a month ago, drummer Phil Rudd was faced with multiple charges including attempt to procure a murder, which was withdrawn the next day. While the other charges remained, the Australian band confirmed nothing would interfere with their world tour to promote the new album. AC/DC has never been one to go down without a fight. The death of their lead vocalist in 1980 is even further proof that they can’t be held down. If a band can persevere through that, it’s clear passion for the music is their first priority. They formed in 1973 and are still reluctant to retire, despite the ever-changing members. Earlier this year, Rudd said the band would have to be dead before they stop making music.
Rock or Bust is the first album without Young, who left due to health concerns. It was later announced his leave was due to a diagnosis of dementia. Replacing him is his nephew, Stevie Young. It will be interesting to see how the band incorporates him in live settings and how he contributes to the future of the band.
Overall, the album has been generally well-received. While it’s not the next Back in Black (sadly), it establishes a solid return for the band. Rock or Bust doesn’t delve much outside the realm of the traditional AC/DC we’ve been hearing since they formed, which is good or bad depending on what kind of fan you are. Monumental guitar riffs filter through the album in true AC/DC fashion. The band’s career was made by these creative instrumental takes, so why wouldn’t they include them?
The album contains 11 songs, but is the band’s shortest album of their career, clocking in at just less than 35 minutes. The album flies by in a blur of timeless rock fury. Even though the lead vocalist is pushing 70 years old, Brian Johnson’s voice is persistent and pushes the limits created by his age. The album dives straight into the title song, drawing in the listener with Johnson’s wail of “In rock n’ roll we trust, it’s rock or bust.” Two more notable tracks are “Hard Times,” not to be mistaken for a sad song about the band’s difficult situations, and “Emission Control.” Rock or Bust is not a depressing album filled with the woes that come with being a band that has been around for the last 40 years. They brought none of that to the studio, just passion for music and the need to express it.
While four of the 11 songs have “rock” in the title, each is distinctive and reestablishes the band’s prominence in the genre. By listening to the album, it’s apparent that age plays no part in the band’s enthusiasm. Throughout all the hardship, the album emanates a band reluctant to give up having a good time making their music. Because they’re still making music in 2014, this album has the ability to capture a younger generation of fans. While sticking to their traditional hard rock style, Rock or Bust rejuvenates an older generation’s need for the classics while introducing a new generation to truly good rock music, as opposed to whatever garbage the kids are listening to these days.
4/5
Old Crow Medicine Show at The Classic Center on November 20
If you were raised in a place anywhere near the South, you’re probably used to being surrounded by some type of folk or country music (even if it’s unwillingly). However, within the decade, national radio is starting to hear a greater variety of music and a brand new genre. That genre, which falls somewhere between alternative country, bluegrass, and folk/Americana, has given us a number of gems- The Avett Brothers, The Devil Makes Three, and Old Crow Medicine Show.
In a day and age full of drinking anthems, the popularity of “Wagon Wheel” ranks somewhere among “Sweet Caroline” and “Free Bird”. The song, co-written by Bob Dylan, has launched Old Crow Medicine Show into stardom. Being within this potluck genre means “Wagon Wheel” is a top pick for a variety of radio stations and listeners alike.
Although I wasn’t sure what to expect when seeing Old Crow Medicine Show at The Classic Center on November 20, I have to say that I was pleasantly surprised.
Upon arriving, I noticed the crowd was very mixed, ranging from young college students to senior citizens. The huge theatre with possible seating of 2,600 filled the complete lower level and a majority of the lower balcony, after the doors opened at 7pm.
The night promptly started at 8, with Dom Flemons, previous member of the popular Carolina Chocolate Drops. Flemons, complete with a tilted hat and suspenders, introduced the audience to an instrument called “the bones”. Similar to playing the spoons, except with animal bones (hence the name), this was only one contribution to Flemon’s unique old-time talent. His distinct voice, skilled banjo pickin’, and alive stage presence was an interesting pre-cursor that got everyone anxious to see the main act.
After about a half hour intermission, the lights among the crowds again dimmed and revealed the headliner, which consisted of seven men, each posted at a different instrument and adorning a different pair of cowboy boots.
Throughout the performance, the members of Old Crow switched between a multitude of instruments; including guitars, vocals, dobro, fiddle, upright bass, drums, banjo and even an organ. But one thing was constant: the energy and vivacity.
Fitting together and reaching a point of perfect sync can be a struggle for all bands, especially big ones, but Old Crow had no problem with this.
Nor did they have a problem connecting with the audience. From the very beginning, the two lead singers, Ketch Secor and Christopher “Critter” Fuqua, were very verbal and weren’t short of Georgian references. Each audience member could relate to something they said, whether it was talks of Commerce, Gainesville, or Madison County, or distinct Georgian landmarks like the Braves and I-85.
Was it rehearsed? I’m not sure and it didn’t matter. The audience connected to what they were saying, right down to their Southern drawwww-ls.
But those weren’t the only stories they told. The band members also explained how they picked up ultra talented pedal steel player Gill Landry, busking on the streets of New Orleans. And apparently, after Bob Dylan heard Darius Rucker’s cover of “Wagon Wheel” on the radio, he sent Old Crow another song, “Sweet Amarillo”, the third track on their latest album Remedy.
The story they didn’t tell? Cory Younts, who performed a trifecta of drumming, organ playing and whistling, has also played mandolin with fellow Nashville star Jack White.
Needless to say, by the end of the concert, the immense talent in the room was obvious- of each musician and of the group as a whole. Although the pit had been standing since the beginning, the rest of the room stood up around “Wagon Wheel” and didn’t take back to their seats.
Old Crow invited Flemons to re-join the stage and from that moment until the very last, the theatrical performance became more than just that: it became a good time. The only thing worse than a boring audience is a boring performer, and this show was the complete opposite. If I walked in with a tinge of doubt, then I left it inside that building.
Old Crow Medicine Show is certainly a show, and a show worth seeing for anyone that enjoys genuine talent-driven artists and one rowdy, hell of a time.
Flake Music: ‘When You Land Here, It’s Time To Return’ Remaster
Not only did Garden State establish first-time director Zach Braff as more than his Scrubs character, it also introduced the mainstream world to a staple of the modern indie-rock world: The Shins.
The film helped skyrocket the band to fame almost over night, after Natalie Portman’s character hands Braff’s a pair of headphones and proclaims, “You gotta hear this one song, it’ll change your life I swear” (referring to their mega-hit “New Slang”).
The official Garden State soundtrack later won a Grammy for Best Compilation Soundtrack Album and the film quickly gained a cult following, along with its most featured artist.
Long before The Shins found fame, they were merely a side project of four guys that belonged to another band, named Flake Music. Drummer Jesse Sandoval, keyboardist Martin Crandall, bassist Neal Langford and well-known singer-songwriter/guitarist James Mercer comprised the group, based in Albuquerque.
In their seven-year span of existence between 1992 and 1999, Flake Music only managed to release one full-length album, “When You Land Here, It’s Time To Return”. That album, released by what seems to be a now-extinct Omnibus Records, floated around the Internet with little information behind it and three tracks listed as “untitled”.
The album was first reissued in 2002, and this week, SubPop has released a second, updated reissue that has been remixed and remastered. The reissue also includes new artwork from Seattle artist, Keith Negley.
The fresh rendition of this classic 1997 album is remixed by Kennie Takahashi (notably, a sound engineer that often works with Danger Mouse) and remastered by J.J. Golden.
It’s not hard to tell “When You Land Here, It’s Time To Return” is ancestor of The Shins; from their upbeat rhythms down to James Mercer’s distinct voice, Flake Music is the angsty teen preview of The Shins.
While the modern, classic sound of The Shins is weaved throughout each song on the album, it’s definitely reminiscent of the garage punk feel of the time. Think the heavier drums and guitar riffs of Brand New’s “Mixtape” but with Weezer’s carefree, bright sound.
Naturally, the album is most closely comparable to The Shins 2001 release, “Oh, Inverted World”. Mercer’s lyrical roots are exposed and they are just as lovely as his current work in The Shins and Broken Bells.
“When You Land Here, It’s Time To Return” has some very nice surprises though, including three songs that are strictly instrumental on the album, including the outro, “Vantage”. If you want to feel the true 90’s vibes, go for the distorted “On the Playground, in the Wind” or psychedelic “Faded Polaroids”.
Even though the album has a track named “The Shins”, Flake Music is definitely a separate entity. The album is now available on CD and for the first time in over 15 years, you can hear this one spinning on vinyl. Recommended for fans of The Shins and lovers of quality music.
4.5/5
The Veronicas: ‘The Veronicas’
Popular twin duo The Veronicas released their first album since 2007 today.
After forming in 2004, their first two albums peaked at No. 2 on the Australian charts and both were certified platinum in their home country. They are the first Australian artists to have a single certified platinum in the U.S., which they did with “Untouched” three years later. So what halted their progress and prevented a new release for seven years? They began writing for the third album in 2009, but progress was slow as the two had outside projects to work on. The album was due to be released in 2012, but due to conflicts with their label, the release date was postponed even longer. The Veronicas then decided to completely change the theme of their already completed album, which resulted in an even later release date. After leaving Warner Bros. Records, they signed with Sony and announced the release date would be late 2014. With the new album, the duo will also launch their first tour since 2009 next year.
In order to continue gaining popularity after their hiatus, their self-titled third album must be a homerun. Because they’ve been irrelevant as a duo in the music scene for so long, there is no guarantee of reclaiming their previous success. Their first single off the album “You Ruin Me” already debuted at No. 1 on the Australian charts. It goes without saying they will remain popular in their home country, despite the hiatus. But achieving international success for the second time will prove more difficult for the duo.
To say the least, this album is interesting. They definitely attempt to stay relevant with “Did You Miss Me,” an anthem proclaiming their return. The song contains EDM-style music and even rapping on occasion, which we’ve heard much of over the past few months with Iggy Azaelea and Nicki Minaj. There are definite hits and misses, present on most any album heard today. Much of The Veronicas’ tired style, which made them famous in earlier years, shows through on a fair portion of the album. This is either positive or negative, depending on the listener. If you’re nostalgic for a return to 2007, then you’ll be satisfied with these songs and disregard the rest. If you’re looking for more experimentation, you’ll be happy with about half of the album. Regardless of your musical preference, chances are you’ll only listen to select songs off the album. With such differing styles throughout the album, it’s unclear what the duo was attempting with their return. Some of the most notable songs are “You and Me,” their current single and power ballad “You Ruin Me” and “Line of Fire,” which fans are already raving over.
Dedicated fans will more than likely fawn over this album simply because the duo has been out of the industry for several years. The album doesn’t scream comeback, but it is interesting, nonetheless. There are songs for more traditional fans and for fans who are looking for something new. Overall, the album is an odd collection of songs that lack a definite theme. Listeners are most likely to pick and choose specific songs for purchase, rather than the entire album. I can’t help but wonder what the original version of their third album sounded like prior to their revamp and how it compares to the version in our possession today.
3.5/5
We The Kings: ‘Stripped’
In anticipation of their low-key tour through Florida next month, pop rock band We The Kings released an acoustic album today, just less than a year after their previous album.
The band struck platinum in Australia with their instant hit “Check Yes Juliet” in 2007 and sold over 250,000 copies of their debut album. Since then, the band’s albums have progressively debuted higher with each installment. Their fourth, most recent album Somewhere Somehow debuted at 44 on the Billboard 200 and has been their highest charting album to date. The band has found more success in other countries like Australia and the United Kingdom. With their pop style, the band is more suited for the likes of younger listeners and has been reluctant to acquire a solid, reliable fan base. We The Kings has invested much of their career into touring, including multiple sets on the Van’s Warped Tour, since their career first began. While the band has yet to earn a No. 1 single in the U.S., their past four albums have all charted within the Billboard 200. They just haven’t charted nearly as high as the band would probably have liked them to. With the release of their latest album, the pop band offers a lesser known side in hopes of gaining more fans.
Stripped, the band’s fifth and latest album, is entirely acoustic. It contains an acoustic version of eight songs from their previous album and two new songs. This is something the band has never done before and the success of it could launch them into a higher chart position, along with the success of their six-city tour through their home state of Florida. The album has proved moderately successful as it debuted in the top 30 albums on iTunes the day of its release. Because the album only features two new songs, fans will more than likely wait for the next full length album entirely comprised of new material.
The lead vocalist, Travis Clark, has a great voice that is only enhanced by the acoustic feel of the album. It’s no surprise they place heavy emphasis on touring, as they have an incredibly seasoned lead singer who can fluctuate between the heavy guitar sound and a much quieter, mellow sound. His voice carries the weight of each song, echoing the sound of one who has loved and lost on “Queen of Hearts” and a struggling teen on “Just Keep Breathing.” Years of trying to break the top charts have resulted in more mature songwriting. Fans have already begun to express their joy over the two new songs. “Stone Walls,” which shows off the band’s inspirational side, has gained the most attention so far. While most bands would’ve opted for a complete change in genre or quitting music altogether, We The Kings have been putting everything they’ve got into each task they attempt. From performing hundreds of shows every year to stepping out of their comfort zone with an acoustic album, they are truly a band of consistency and perseverance. While they may not be raking in the platinum or gold singles, the band is grateful for every opportunity they get and it shows throughout each album and set.
3/5
Rick Ross: ‘Hood Billionaire’
Hood Billionaire is Rick Ross’ seventh studio album set for a November 24th release date in light of the marginal success of his March release, Mastermind.
Ross doesn’t deviate from a set formula. I’ve never been a major fan of his work, but I’ve given him a considerable amount of attention not because of my enjoyment of his music, but because Ross is certainly an enigma. The content of his lyrics ranges from cocaine to crack-cocaine. Ross seemingly can’t get enough of the white. But despite his lack of originality and prowess in his music, Ross stands out among the other rappers to whom he is often compared. For the Teflon Don, there is no façade to uphold.
Unlike rappers such as Lil’ Wayne, Gucci Mane, and Waka Flocka Flame, Ross’ background as a correctional officer at a prison in Miami renders him incapable of presenting himself as “hood” in a genuine sense. His music comes off as serious and cutthroat, but Ross acknowledges his less-than-gangster past and o his peers often criticize his view from the other side of the bars as a discredit to his status in the rap community.
But Ross is exactly who he wants to be. The tattooed, overweight (although he recently adopted a healthier diet to lose that weight) presence on stage dispels any hint of a life anything other than what he claims in his music. He sincerely looks like a drug kingpin from Miami and nothing less. If you came across Ross’ at a show and had never heard of his past as a correctional officer, you wouldn’t think twice when he says “fishscale made me major profit margins/I’m a prophet stuffing my pockets, you n****s starving.” Rick Ross is a combination of his image and his lyrics. They are bound together inextricably and he knows that. If Ross looked like anything other than what he looks like now, his music would fly considerably under the radar.
Hood Billionaire is just like every other Rick Ross album. It’s a mixtape recorded on a major label. All the qualities are there: the horns, the echoing mantra of “Maybach Music” that permeates Ross’ very musical essence, the various skits and sound samples referencing drug trade, both real and fictitious. Ross is nothing more than an image and his music serves its purpose by reinforcing that image. The song titles speak for themselves, such as “Coke Like The 80s,” “Neighborhood Drug Dealer,” and “Phone Trap.” They are repetitive and unoriginal concepts that Ross rehashes every six months or so to stay on top. But that isn’t the point of his music. Ross isn’t a rapper or a musician. He’s an image that’s upheld by a genre and he releases track after track in order to stay on top.
His music hasn’t changed since 2006 and his lyrical content has remained consistently juvenile and heavily reliant on the n-word (see “Coke Like The 80s) and drug-dealing, but no one expects Ross to be a wise, versatile rapper laying intricate rhymes over esoteric beats. Everyone that knows Rick Ross as he is expects him to stay the same. His success lies in his refusal to change or expand beyond his image. Tastes change, but Ross stays the same and that provides him with a verisimilitude, a realness that gains him followers by the thousands. To be real is to be respected and as far as Ross is concerned, he is the realist.
2/5