The Irony of Prodigy Rhyming on Jay Electronica's New Record

Incredible lyrics and on-point rhymes notwithstanding, my almost immediate reaction to finally hearing a legitimately new song from Jay Electronica was to wonder how Prodigy ever scored the coveted feature for what may turn out to be Jay Elec's lead single for his debut album, which many fans have been waiting on for what seems like years now despite him having been signed to Roc Nation for just under a 12 months.

The rapper who was unable to recover from being knocked off course about a decade ago by Jay-Z's Summer Jam sneak attack, Prodigy has made Jay-Z the lyrical object of his scorn ever since, including as recently as in the writings of his autobiography.

So how then did Prodigy manage to secure a verse on the new Jay Electronica song, which was made possible through Roc Nation, Jay-Z's record label?

Why J. Cole Is Not a Priority to Jay-Z

 As if the lengthy delays after being touted as the next coming by Mr. Carter himself were not proof enough of J. Cole dangerously languishing in Game-like purgatory, it is becoming more and more apparent that Jay-Z has better things to do than foster the growth of his label's new jack rapper.

An Analysis of Jay-Z & Kanye West's Otis Music Video

New videos are popping up left and right, with Kanye and Jay finally coming through with the visuals for Otis, their first single from Watch the Throne.

If anything, the video -- which shows the two Roc stars laughing and enjoying the spoils of success by driving around a vacant parking lot in a one-of-a-kind Maybach while trading verses -- makes me like the song even more.

With that said, I'm still not sure what exactly the song is about, nor do I understand why two veritable musical geniuses would work so hard on an album only to reward its lead single with a lazy, unimaginative title that, again, apparently has nothing to do with the song's enigmatic subject matter.

Jay-Z & Kanye Watch the Throne: [Hasty] Album Review

For years (decades even) rap artists have been hard at work pushing the genre’s musical envelope in new directions in hopes of adding on to what can sometimes [rightfully] be perceived as a somewhat stagnant art form.

Despite an ever-diversifying array of Hiphop producers who are seemingly eager to break up the monotony of mainstream rap by incorporating new sounds and styles into their music, it has been the rappers for the most part who are reluctant to test the unfamiliar waters of nontraditional Hiphop production, opting instead for the safety of formulaic 16-bar verses and a hook.

But today’s release of Watch the Throne, the highly anticipated collaboration album from Jay-Z and Kanye West, more than crushes the above stereotype of the lazy rapper and the producer(s) who enables him or her.

More specifically, Jay-Z, the flawless lyricist and revered elder statesman of rap, and Kanye West, the boastful wordsmith and accomplished beat-making producer who is known for bending the rules when it comes to rap, have created as close to a genre-busting masterpiece as we have seen in quite a while.

Rap [Names] Is Outta Control, Vol. 3

I really have been delaying this latest installment, which provides a doozy in terms of creative, uncreative, and just plain weird and strange stage names for the latest and often not so greatest members of this unique fraternity we affectionately refer to as the rap game.

It's to the point where my eyes have almost reached a state of absolute numbness when they scan over new rap offerings spattered across the latest blogs and other music sites.

But the truly sad part is that many renowned and accomplished rappers and producers that we know and grew up with are collaborating with these said artists; and seemingly have no problem doing so.

Beanie Sigel Concedes Defeat to Jay-Z

Although nearly two years too late, Beanie Sigel yesterday issued an apology of sorts to Jay-Z without actually saying the two words that matter most in this type of situation: “I’m sorry”.

During that time period he released at least five tracks** entirely devoted to discrediting and disrespecting Jay, not to mention doing the same in countless video and radio interviews.

Maybe Beans got himself off the pills long enough to clear his mind and realize what all of us have known all along – it is counterproductive for most rappers to challenge Jay-Z in damn near any arena, but especially in rap.

Or, more probably, Beans finally noticed that his pockets contained more lint than cash, and because of that he is willing to eat crow with a side of humble pie.

This seemingly last ditch effort of appealing to Jay for help/work through a false, disingenuous acknowledgement of his wrongdoing should be embarrassing to Beans. But, then again, Gator never felt any type of shame when he two-stepped for his parents in hopes of getting some cash for his next fix. Could this also be Beans’ song-and-dance?

During yesterday’s interview Beanie also admitted he had an album’s worth of songs dissing Jay, but that he “couldn’t put that out. It wouldn’t sit right with me.”

However, just admitting their existence is reason enough to cast doubt on the probability of Jay accepting this so-called apology. Especially because in today’s digital world, it is more than likely that the material will eventually surface with or without Beans’ consent, since, like with most if not all other new rap music, a studio engineer or a member of Beanie’s entourage probably made copies of the songs in hopes of cashing in on them at a later date. And as well all know Jay would NEVER put himself in a situation to lose.

In fact, the only rapper who ever effectively went up against Jay is NaS, and even the considerable rapping talents of Mr. Jones didn’t disrupt Jay’s steady ascent to the top of Hiphop and popular culture stratospheres, where he continues to rest to this day.

The truth of the matter is that Beanie wasn’t a particularly effective battle rapper when he faced off against Jadakiss and Dipset, so there was no way he could even put the smallest chink in Jay’s armor.

For some reason some rappers who were once down with Jay are now scorned at his lack of involvement in their careers, but the reality of the situation is that their work with Jay far outweighed the effectiveness of their work without him. In other words, these rappers owe Jay. Not the other way around.

But confidence can be a detriment, backfiring to the point that a career will find itself in shambles if it doesn’t rein in and control that confidence that can many times lead to bad decision-making.

It’s not Jay’s fault that Beans squandered most of his earnings on Bentleys and drugs when Jay put him in a position to build a similar type of empire (State Property the group, the film series and clothing line; Pro-Keds) that Jay now rules with an iron fist.

It is unclear what's next on the menu for Beanie. He's said in the past that he has no desire to return to making music but mentioned yesterday he's planning to release a mixtape in the near future.

Maybe now is the time for that long-rumored Beans & Bleek album, since both of their careers are currently on life support.

To his credit, though, Beans did [finally] take the high road and admit the truth of the situation: "Whatever I felt this dude Jay did wrong to me, it can’t outweigh the one thing he did do for me – he gave me an opportunity." It's just too bad that more rappers who have also been supposedly scorned by Jay can't bring themselves to do and say the same.

** In case you forgot, here are the songs in question:

What You Talkin' Bout (Oct. 2009)


I Go Off (Feat. 50 Cent) (Nov. 2009)


How I Can Kill Jigga Man (Nov. 2009)


Think Big (Nov. 2009)


Haters (Aug. 2010)

The Life & Times of Shawn Carter (The 2011 Version)

What is going on in the life and times of Shawn Carter?

Much like his favorite baseball team's arch nemesis, Jay-Z is going through a mind-boggling, highly unexpected slump. Only this time it will cost him $50,000.

And really it won't cost him personally, per se, since the professional sports franchise of which he is part owner will be held liable for Jay's own individual misgiving -- an NBA owner having inappropriate contact** with an amateur-status athlete.

You know, the same topic that should have been learned in NBA Ownership 101. If that course was ever attended by the person who, for clarity's sake, identifies himself as a "business, man," which is not to be confused with a "businessman" by any means.

But with this latest flap it makes one wonder if the Nets even need Jay at all, considering he was initially brought on board to help lure the league's best players to the Garden State -- a move the proved to be a failure when not one but ALL of the free agents this past summer passed on the chance, including, especially and ironically Jay-Z pal LeBron James, who many NBA insiders speculated would relish the opportunity to play for his idol.

However, with the Nets scheduled to eventually relocate to Jay's native Brooklyn, it would behoove ownership to keep him around for another couple of seasons to help boost ticket sales.

This NBA-related news comes on the heels of the arrest of rapper who Jay just months ago signed to his Roc Nation record label.

The rapper, K Koke, is from the UK and being held by English authorities under suspicion of attempted murder, which means Jay probably won't be able to exploit this brush with the law until the rapper is released, unlike what K Koke's American counterparts have managed to do when it comes to their own legal problems.

And speaking of the UK, Liam Gallagher of the group Oasis, apparently still mad at Jay getting the top billing at 2008's Glastonbury Festival, bashing Jay's Rocawear clothing line to a number of media outlets.

And we can't forget about the recent upheaval about Jay falsely representing himself as a connoisseur of all fine things in lieu of the fact that wine industry experts have officially declared Ace of Spades, Jay's current preferred brand of Champagne, as a highly inferior product.

Not to mention the fact that Jay's and Will Smith's pet project to remake the classic musical Annie starring Smith's own daughter, Willow, has been put on ice for the time being while searching for a director to replace the one who just quit.

Factor in those darned Illuminati rumors that have persisted for years now and the question is begged -- will these trends continue, leaving us to witness the eventual demise of arguably the best and most successful rapper of all time?

Don't get me wrong, Jay is presumably brushing this small clump of dirt off his shoulder, but these actions make you wonder if Jay is losing his aura of being untouchable.

**(No, not that type of inappropriate contact, though you are forgiven for considering that possibility.)

An Open Letter to Lil' Kim

Dear Lil' Kim,

Because this is a fan talking to you, I'm going to make this as short and sweet as I possibly can -- please stop beefing with Nicki Minaj.

I'm not asking you to stop because I think it's a battle you will lose. Black Friday already solidified your victory.

Rather, you need to take the high road, similar to how Jay-Z reacts when rappers (like Game and Jaz-O, to name but a few) attempt to insult him through derisive lyrical content -- ignore, ignore, ignore.

I understand her latest attempt to grab your attention probably stung much more than Roman's Revenge -- a diss track that is confusingly credited to Nicki's alter ego Roman Zolanski (hence, the song's name), an indication that Nicki doesn't really agree with dissing Kim but is doing so only for publicity -- but you've already said enough on Black Friday. In fact, you sounded like your old self circa the Hardcore album, which hit harder and was way more Hiphop than Nicki's pop album debut that was filled with atrocious Autotuned singing.

What you need to do is understand that the music industry, like life, works in cycles, and so if the past is any indication of the future, she, too will soon have an upstart female emcee trying to dethrone her, as Nicki is trying to do to you. That is, assuming Nicki's career matches or exceeds the longevity of yours.

Yes, I know she is on the cover of the current Elle magazine, but is that really Hiphop?

But not to be outdone, you recently landed the cover of the current Vibe magazine, a decidedly better fit than trying to appeal to a demographic that neither looks like you nor listens to your music.

Can't you see Nicki Minaj so desperately wants to be just like you? From your first album's cover (see above photo) to imitating much of your rapping style and fashion sense and even how she got put on (popular rapper du jour co-signs her and puts her on every remix under the sun), Nicki doesn't have an original bone in her body. She even went the plastic surgery route**, something you pioneered in Hiphop and rap.

Every aspect of her career has been modeled after yours. Take it as a compliment, as flattery, but not as a challenge. Although it may seem that her popularity has reached epic proportions, she is not nor could she ever be on your level.

Some more unsolicited advice is to perhaps reassemble the production team that helped put you on top so your fans can once again experience the sassy, "down-ass-bitch" attitude we all fell in love with on songs like Big Momma Thang, We Don't Need It, and especially Will They Die for You (from Ma$e's Harlem World album)?

You actually had some really dope, hard hitting tracks on Naked Truth. But then for some reason you descended into an R&B abyss [which continued on your next album] in which you felt compelled to showcase your singing abilities, leaving many of your rap-loving fans feeling somewhat alienated.

If you're going to do a project filled with singing, why not at least go the Andre3000 route and conceptualize the album so that the cohesive content can potentially make up for the lack of singing ability?

The problem is, as long as you acknowledge Nicki Minaj through your rhymes, we know that she is not only on your mind, but she's on your mind to the point that you feel the need to talk about her instead of conquering new topics that show true progression in a style that helped you win over your millions of fans in the first place.

We've seen other artists get side-tracked by becoming obsessed with talking about other rappers, eventually losing sight of the big picture -- making quality music -- while also losing their careers.

Your fans don't want this same fate to become yours, regardless of how close you may seem to that reality. There is still time to save your career, but the choice in direction is yours to make.

Sincerely,

Lufwalnu Nabru Orgen, a fan

** I am in no way endorsing Lil' Kim's plastic surgery, which left her with severe facial disfigurement and unappealingly huge breasts.

Hiphop Remains Mostly Mum on Japan Tsunami

With such an exorbitant amount of revenue being generated from Hiphop music, and especially with rappers now earning more than they ever have, I find it pretty surprising that Hiphoppers as a group haven't done more to come to Japan's aid in the wake of this month's tsunami.

Apparently Linkin Park has a new song available for download with proceeds going to a relief fund, but what about real and actual rappers? Where are they during this time of need?

Let's start with Pharrell, who has made a ton of money with the help of Japanese designer and musician Nigo and his rap group the Teriyaki Boyz, even going so far as to open a clothing store in Tokyo (full of attire designed by Nigo) before helping Nigo open up his own stores in New York City and Los Angeles (now closed) for his Bape/Bathing Ape brand.

To date, the most Pharrell has done is issue through one of his Web sites a brief statement that lets readers know he is "devastated" before wishing Japan the best of luck, or "God's speed," as he put it. That's a pretty weak move considering all the money his clothing lines -- designed by Nigo -- have made from Japanese support.

Not to be outdone, 50 Cent tweeted some insensitive jokes in the hours after news broke about the tsunami before begrudgingly apologizing. However, Vitamin Water money notwithstanding, 50 has yet to make a donation that is not in the form of cruel humor.

Ironically, Nicki Minaj (who calls herself the Harajuku Barbie, a reference to the Tokyo neighborhood of the same name known for its outrageous and colorful style and fashion) is participating in a digital album being released by Universal Music Group to raise funds for the victims of the tsunami. While Universal is home to a long list of rappers, none besides Nicki have been confirmed for the album.

Pete Rock and DJ Premier were just touring Japan this past summer, and DJ Spinna regularly deejays there, but still there has been no indication that any of the turntablists/producers are doing anything to give back to the country that supports them by inviting them to perform.

It is possible that the above mentioned artists (and more) have indeed done more than talk about it, but it would be nice to confirm that the Hiphop artists who we have all helped get filthy rich do indeed care about their Japanese fans enough to make a sizeable donation for earthquake/tsunami relief and aid.

Sandra Bullock gave a full million dollars, which obviously goes above and beyond the call of duty, but it also shows that these donations (which are tax write-offs, another incentive for the wealthy) are but a small percentage of these celebrities’ wealth.

It’s’ only natural that a number of Asian celebrities are doing their part.

Lady Gaga has gone the creative route, designing bracelets and selling them on her Web site to raise money for the victims, already tallying $1.5 million.

Ne-Yo performed in Japan after the tsunami hit, meeting with fans. While it is assumed the concert proceeds went to support the victims, all Ne-Yo said for sure that he was doing was spreading love through music, which is still admirable because at the very least it helps keep the spirits up of those who were in attendance.

Hell, teenager Demi Lovato (who I know for sure has less money than Dr. Dre, Eminem and Jay-Z – who, coincidentally,have all done nothing to help) has given $1 million.

Speaking of Jiggaman -- also known as the man who once rapped “I put dollars on mine, ask Columbine, when the twin towers fell I was the first in line” -- he has been conspicuously absent from the conversation of what celebrities have done in the wake of this disaster.

Jay-Z, the man who Forbes magazine last August crowned as “Hip-Hop’s Cash King,” earned $63 million in the previous 12 months. Yet, Jay still has yet to make any type of donation to Japan.

Diddy, who is arguably the most financially secure of all Hiphop-related artists, at least took to Twitter to express himself and his concerns for Japan, imploring his fans and followers to send text messages to the Red Cross, which will help generate funds for relief.

But Jay, who isn’t on Twitter, didn’t even issue a statement or anything that would lead us to believe he has an ounce of concern for the tsunami victims.

NaS is experiencing some financial hardships right now, so I will give him a pass for not helping. But again, a simple statement or open letter to a media outlet could inspire his fans to do something. You wonder why more influential, popular rappers don’t do the same.

These are but a small sampling of rappers and Hiphoppers who could and should be doing more to support our fellow humans during this time of hardship. We say 911 is a joke but then we turn around and don’t do anything to help expedite emergency aid to those who are in immediate need it help. Ironic, to say the least.

Japan has been doing for years now more for Hiphop than most Americans do for it, helping to keep all four elements alive through still actively practicing deejaying with vinyl and breakdancing/b-boying. We already know that Japan has always been on the forefront when it comes to art and specifically their genre of Anime, but they are active participants in the graffiti culture, as well, a phenomenon that isn’t as celebrated as the other three elements.

Considering all the Japanese people have done to help keep Hiphop alive, it’s ironic that we Hiphoppers aren’t doing more to help keep the Japanese alive. Literally.

Japan's faithfulness to Hiphop culture has never been questioned. It's a shame the opposite isn't also true and the favor is not being returned.

Is Jay Electronica the Carlos Boozer of Rap?

Six years ago Carlos Boozer accepted a $68 million offer from the Utah Jazz, which came as a total and complete surprise to his then-current team, the Cleveland Cavaliers.

Six years later, LeBron James spurned the same team via a grandiose, drawn out announcement on prime time television that once again broke the collective heart of Cavaliers' fans.

In both instances, the Cavaliers were seemingly caught off guard and not expecting to lose their star players under any circumstances.

And now, just a few weeks ago to every one's surprise, Jay Electronica did the equivalent in Hiphop by signing a record contract with Jay-Z's record company, Roc Nation.

Now, it is no surprise that Electronica would enter into a record deal. In fact, it is what his fans were hoping for so that his music would be distributed in a wider and more professional manner than random Internet "leaks" every now and then.

But now details are emerging that suggest Jay Electronica pulled a Carlos Boozer and surprised everyone including his closest adviser, Just Blaze, who most likely had hopes of signing him to his own Fort Knocks Entertainment imprint.

Just Blaze didn't go as far as Diddy did by expressing his outrage via Twitter for the world to see (although Diddy recently rebuffed that notion), but a new video has recently surfaced in which Just says that while he and Jay Electronica are "still cool, there's things that we gotta talk about."



Just doesn't go into great detail, but he does say he understands how Diddy feels, which lets on that Just himself probably does feel some sense of betrayal from Jay Electronica.

It almost seems as though Jay Electronica and Just Blaze had an unwritten, binding understanding or agreement that Jay would be signed through Just's company and then sign with a major label. But it looks as though Jay has eliminated the middle man and gone straight to the cash cow, Shawn Carter.

Electronica can't be blamed for his decision, considering most of what Jay-Z touches turns to platinum or better. But lately Jay's track record hasn't been so stellar, what with J Cole floundering in the underground and Willow Smith making the most noise of all the artists on the Roc Nation roster.

On the flip side, Just Blaze is notorious for his problems with securing record deals for his artists, and Jay Electronica probably wants to get his career moving and not be relegated to being an Internet artist.

And aside from Biggie, Diddy's track record with signing rappers to Bad Boy have been nothing short of disappointing, disastrous, and in some cases demented.

At least with Jay-Z, Electronica will ideally have ready access to the best of everything, including an upper tier production team that is not solely made up of Just Blaze, as well as a guarantee of worldwide distribution.

As with Boozer and LeBron, it seems that Jay Electronica went not only to the highest bidder, but also to the team that gave him the best chance of winning immediately, and he can't be faulted for that.

Jay-Z and Alicia Keys Perform at Yankee Stadium 10/29/09

Jay-Z Biting [Again]?

For years now Jay-Z has had accusations of biting hurled at him from every conceivable angle -- the media, fans, his rapper peers. Since his 1996 debut he's been charged with copying everything from lyrics (at 1:36 in the video) to song titles to an underling's rapping style to his latest album cover.

It got to the point that Jay, who normally ignores the so-called haters, took the time on The Black Album to mention that he's "not a biter [he's] a writer" and that when he says "a B.I.G. verse he's only bigging up [his] brother," a response to (and acknowledgment of) all the finger-pointing in his direction.

It was also a likely response to the scathing diss track "Ether," in which NaS reasons: "First, Biggie's ya man, then you got the nerve to say that you better than B.I.G. ... why don't you let the late, great veteran live?"

Nas was, of course, referring to the first Blueprint album, where after five straight years of extolling B.I.G. as the greatest rapper of all time, Jay now claimed to occupy that same throne: "If I ain't better than B.I.G., I'm the closest one." (3:20 in the video)

Jay, even though he won the war, still found himself licking his wounds from that battle before he decided to extend an olive branch to NaS, signing him to Def Jam and rewarding him with a lucrative multi-album contract.

Fast forward to September 2009 -- Jay is readying his Blueprint 3 album when the album's track listing leaks online and reveals a curious title for a song: "Empire State of Mind." Very similar to NaS's debut album-opening song, "N.Y. State of Mind," which is widely considered a classic.

Coincidence? Probably not, considering that Illseed posted a rumor about how Jay wanted NaS featured on that song. Alas, NaS declined to participate, no doubt providing a blow to Jay's ego -- or, at least, that's how the rumor goes.

It's almost as if Jay intentionally invites the controversy by "borrowing" from other people. Or maybe he just doesn't care.

The two tracks sound nothing alike, and both are very dope in their own rights, but because of the allegations that have dogged Jay for much of the past decade, I have no choice but to raise my eyebrow in suspicion at the song's title. Jay's track record indicates that he is once again in violation of Hiphop's biting code. (Never mind the fact that NaS also called Jay out for naming his Blueprint album the same name as an album released by BDP in 1989.

But the public wasn't fooled. We know about Jay's relentless quest for power, and signing NaS to Def Jam, as well as their subsequent collaborations, was just another way for Jay to prove to the world that he got the last laugh; that despite losing the battle of words to NaS, Jay ultimately won the war -- the girl, the money, the fame, the awards ... the list goes on and on.

The move also allowed Jay to finally record a song with NaS, which many people saw as a way for Jay to portray himself as NaS's boss, another jab in the ongoing boxing match between the two rappers.

Is Jay a biter? Does Jay envy NaS? These questions can only be answered by the listener, but at first glance (and listen) it would seem that Jay is guilty beyond a reasonable doubt.

The Game Disses Jay-Z

Well, after throwing subliminal jabs at the Jiggaman for more than a few years, rapper The Game has finally come out and refernced Jay's name in a disrespectful fashion during an interview on a California radio station.

Perfect timing considering Game's new album is due out in a couple of weeks. Game is trying his best to bait Jay into a back and forth diss war that will only help his album sell, and since we all know how much smarter Jay is than these average rap cats, I'm pretty positive Jay will have nothing to say to Game until Jay's album is scheduled to be released.

But still, Game went all out on the interview when asked about Jay:

"I’m too disrespectful for Jay-Z, I go to hard. His beef is mediocre beef, it’s more swag and less hardcore. Me, I go in on your grandma, your kids and your girl.it will get ugly and I don’t mind. I have a whole coast to back me. My coast will turn their backs on whoever I beef with. So basically, let me commit suicide because I’m the only cat to commit suicide and resurrect every time. So for Jay to say that about me, that’s cool man because that’s Jay-Z and I’m just lil ol Game. But if you fuck with me I’ll turn to a beast, and ill rip ya head off..bust ya lipsturn the Roc-A-Fella sign, into a pee stain.

I can be a fan of Jay and still rip him limb from limb and still be a fan. After I finish him off, I’m still going to listen to Reasonable Doubt afterwards. I’ll kiss Jay goodbye with his own lips. I’m going to make him mad enough to where he has to say something."

The thing is I actually semi-side with Game on this one.

Jay doesn't really rhyme about guns or hardcore street life anymore, whereas that is right up Game's alley. The last time Jay got really gully in a diss song he went too far talking about leaving used condoms in NaS's baby seat after he banged Carmen, NaS's baby's mother. And he lost a lot of respect for that rhyme too.

Not to mention I think Jay has lost it. Just a bit, but it's noticeable. Or maybe he needs to start writing his rhymes again and stop going off the top of the head in the booth.

Whatever the deal is, Jay didn't sound very fluid on Jeezy's "Put On" remix, and his new song "Jockin Jay-Z" suffers from the same malady, among others.

I have a feeling Game noticed the same thing and decided now was the right time to stage his preemptive strike, however passive aggressive it really is -- don't you love how he said he'd turn the Roc-a-Fella chain into a pee stain and then in the very next breath said he'll always be a fan of Jay? Classic hypocritical rapper.

Meanwhile several songs from Game's new album have leaked, and none are really all that appealing. So I guess I can't blame Game for trying to rummage up all the support and attention he can before the entire album leaks and it is no longer a secret how bad his album is.

Here's a video of Game talking about his new album followed by a live performance.

More Lobster and Scrimps?

vh1.com is reporting that Timbaland has agreed to produce Jay-Z's next album in its entirety, something Tim hasn't done for a Hiphop artist since maybe Bubba Sparxxx or Petey Pablo.

Tim couldn't hold back his excitement about the project:

"I'mma make it a classic too. You better believe it. It'll be a monster! I always say this: You get a first single from me, I'mma get you up to gold."

"We wanna go to the world," he added. "The world is 'Big Pimpin'.' 'Big Pimpin' ' is an international hit, so we wanna do 10 of those. Meaning, some of the songs gonna sound like M.I.A. would rap on some of the beats. You gonna be like, 'Whoa!' But it's Jay on 'em. That means it reaches everywhere. I'mma have songs with bagpipes. The music is gonna be so worldwide, he'll be able to tour the rest of his life, maybe, off just this one album. The Jay-Z album is gonna be phenomenal. You know why? We don't care. We're doing great music just to do it. We doing it for our fans who love us to say we ain't quit. I'm doing it 'cause that's my homeboy."

Given the track record of their collaborations, especially on Jay's masterful Vol. 3 album, this could be a great album.

But I have some reservations about the finished product considering the international pop feel of Tim's recent music. Jay already lost some of his fans with his "mature" approach to his Kingdom Come album. And since we already know Tim deliberately targets a pop audience when creating music, it will be interesting to see what the results are.

Long gone are the days of beats like "Big Pimpin," the "Snoopy Track," and probably even "Dirt Off My Shoulders". They have been replaced by down-tempo collabos with R&B and rock stars, which attract millions in sales, but if Jay is targeting his core fans (i.e. the streets) Tim is gonna have to come with something a bit harder. Pause.

I'm sure I'll like the album and appreciate it musically but we'll have to wait and see how the streets accept it. I thought Jay would have learned from his Beach Chair days from Kingdom Come, so we'll see what happens.

The Neptunes should have done this for Jay years ago but after hearing the American Gangster album I think the once-incredible chemistry they shared is long gone. Hopefully Jay and Tim still have theirs.

I won't front too hard, though, because Tim's song "Laff At Em" was real tough and Jay's verse was crazy.

Writer or a Biter?

allhiphop.com is reporting this morning that some washed-up boxer, clearly grasping for straws at an obviously very desperate point in his life, is suing the Jiggaman for $88 million, all in the name of the infamous "whisper" style of rap that Jay started using right around the release of the Blueprint 2: The Gift & the Curse. This mystery man wants us all to believe that he and he alone created the "whisper rap" style.

For those who were able to attend Jay's "Blueprint Lounge Tour" got to hear Jay fine tuning and ultimately mastering this new phenomenon known simply as "whisper rap". However, it isn't so much a whisper as it is just lowering the volume of one's voice while still enunciating clearly. Jay seemed to use it to emphasize certain lines, not necessarily as a style throughout an entire song, though.

With that said, most Jay-Z fans have known for years that Jay did not come up with that style of rhyming on his own. But we never heard of this loser, who claims he gave Jay his demo tape back in 2001. (On a side note, why did it take him 7 years to file this suit? I'm skeptical already.)

We have, however, heard of the Young Gunz, a teenaged rap duo formerly signed to Jay's Roc-a-Fella Records. Comprised of Young Chris and Young Neef, they achieved moderate success from the two albums they released.

But more importantly, if you ever listened to those Young Gunz albums, or to the many mixtape verses supplied by Young Chris, then you already know who pioneered the infamous whisper rap style. And his name isn't "whatchamacallit" who is trying his best to dig in Jay's pockets, which Forbes just confirmed got much fatter since June 2007.

Regardless of its origin, I'm eager to see hat happens from here on out, considering Jay may have to answer for this in one way or another. If not in court then in the media, or in rhyme.

I'm sure some new jack rapper will try to use this as a topic to get at Jay on wax since beef seems to work better than demo tapes when it comes to jump starting a rap career.

I also want to see if Young Chris cares to comment on this. Ultimately I'm sure Jay will make this little pest go away emptihanded, but I think regardless of the outcome one thing has clearly been established: Jay-Z did not create that whisper flow, which doesn't necessarily place an asterisk next to his name on the list of greatest rappers of all time, but it does bring back up the ugly rumor that Jay is a biter. Not a good look for everybody involved.

Lil' Wayne - Tha Carter III

It’s been close to 3 years since Lil' Wayne released Tha Carter II, which many critics and fans of modern rap music immediately hailed an instant classic, doing their best to confirm Wayne’s boast of being “the best rapper alive since the best rapper retired,” an obvious reference to Jay-Z during his brief retirement after The Black Album was released.

It’s rare we see the rap music star who can transcend genres and also be accepted by the three main sources of Hiphop – the east coast, the west coast, and, of course, the south. But Wayne has done just that, on his own terms no less, kissing no one’s ass and making very few excuses, if any, for his behavior (save for maybe his recent mea culpa to DJ Drama after news of him dumbing out on mixtape DJs last week), which includes recent arrests for weapons and drugs.

(He openly and proudly admits he consumes a variety of drugs. Sad as it may be, the truth is most of the greatest entertainers -- not just rappers -- in the history of popular culture have grappled with their own personal demons while at the same time making some of the most timeless music ever created. See Nirvana, Jimi Hendrix, and Amy Winehouse for further proof of this theory. So I have no problem with him drinking syrup and popping pills. As long as the music doesn't suffer.)

Wayne seemingly lives in the studio, as virtually every day there is at least one new song “leaked” on the internet either by or featuring him. It’s amazing but no longer surprising, since Wayne has upped the ante for the hiphop recording ethic, outdoing the likes of mixtape veterans like Papoose, Max B and Uncle Murda, who have been relentless with their own releases and features in the past year or so.

There are tons of skeptics out there who don't want to see Wayne rise to the top of the rap game and still don't see what the big deal is about Wayne, who's biggest claim to fame is inventing the word "bling." But even those same skeptics, who have never willingly listened to one single Wayne song or verse, are eager to hear Weezy's new album to see if all the talk of his oratory talents are true. It is with that same apprehension and eagerness that I greet this LP.

The album starts off with 3Peat, a nod to the 3^rd installment of Weezy’s famed Tha Carter albums. Filled with braggadocio rhymes, the very Toomp-esque track features heavy synths with a touch of the funky worm during the hook. But since it is produced by Cool n Dre, and not Dr. Dre -- the king of the funky worm -- it still feels a bit like an imitation Toomp instead of a bona fide Cool n Dre joint. Were it not for Wayne’s confidence and complete dominance of the track it would barely be noteworthy, but Wayne sounds triumphant and eager to present the rest of the album, proclaiming “I’m back, 3Peat, C3!”

Next up is "Mr. Carter", an ode to the surname that both Weezy and Jay-Z have in common. Weezy lets Jay get shine on a verse and it’s debatable who has the best 16. Jay does more money raps about how he’s the greatest in both games (rap and corporate), but this critic thinks Weezy eclipsed Jay with his final verse, which ended in a couplet that echoes the obvious theme of this album, Wayne’s clear dominance in rap music:

“Next time you mention Pac, Biggie and Jay-Z
Don’t forget Weezy Baby!”

The album isn’t without faults and has a certified dud in the T-Pain assisted “Got Money” as well as the tribute to post-Katrina New Orleands "Tie My Hands" (featuring crooner Robin Thicke with whom Weezy had a great deal of success with their song "Shooter"). "Shoot Me Down" is the first of three Kanye-produced tracks, and features a very thin, emo-tinged voice on the hook while Weezy apparently displays his newfound ability with a guitar.

But those missteps are forgotten quickly when the stutter of Kanye's drums introduce "Comfortable" -- a duet with Babyface that has the most potential, aside from the already #1 song "Lollipop," to be a chart topper -- where Wayne and Babyface warn the women in their lives to not take their love for granted and get too comfortable.

But Wayne is at his best on "Dr. Carter," where Lil' Wayne has an M.D. in rapping and sees patients who need his help in the art of emceeing, complete with a sexy-sounding nurse introducing one of his patients as "suffering from a lack of concepts, originality" with a weak flow and "no style". Dr. Carter, always up to the task to school sucker emcees, quickly explains to a patient that "your style's a disgrace, your rhymes are fifth place, and I'm just grace, one, uno, ace." The song ends with Wayne saving the life of one rapper who had momentarily flat-lined, but of course Wayne resuscitated the amateur rhymesmith, who no doubt was grateful for Wayne's merciless duty.

Wayne invites his buddies from New York to join him on "Nothin' on Me" where Juelz Santana and Fabolous trade verses while Weezy is back on that T-Pain-ish voice box for the hook. The Alchemist does his thing on the track, but the beat is a little too reminiscent of Cam’ron’s Wet Wipes, so for me it lost a bit of its luster right off the bat. Especially once I found out who produced it. It’s still solid. Pause.

"Let the Beat Build", also produced by Kanye, is, at first, a sparse-sounding beat, slowly but surely fueled by an old time sounding piano riff over a soul vocal sample, only for Wayne to keep rapping while the beat keeps adding different elements to it, like a nasty snare and kick, while Wayne reminds us that he still believes he is the best rapper alive.

The album ends with Mrs. Officer, a song about how Wayne can trump the law to the point that he recounts an episode where an attractive female cop pulls him over only to order him to “remain silent,” after which he proceeds to “fuck the police”. When they’re finished Wayne politely asks for her number, to which she responds “call 911.” Wayne then admits that if he did call her, indeed it would be for “emergency only/ head doctor, perform surgery on me.” He then shouts out Rodney King when he tells the officer that he would “beat it like a cop”. All this with Bobby Valentino on the hook, saying he will make the officer’s body “sing,” and then proceeds to mimic the sound of a squad car siren. But it works. It’s a cool summer song, and a nice way to end the album.

It will be interesting to see if Wayne continues his onslaught on the industry by hitting the mixtape circuit like he did pre-Carter III, of if he sits back for a second and relaxes and enjoys the fruits of his labor. Yes the album leaked, but they all do nowadays. Kanye’s latest leaked two weeks ahead of time and still sold barely shy of platinum in his first week. So I don’t think this will affect sales as much as many think it could.

Not to mention Weezy has given us well over 1000 verses in the past few years, all for free, so I don’t think he’s tripping. Maybe on syrup, but not over sales. What he doesn’t earn from album sales he will more than make up for in concert ticket sales, for which prices will no doubt go up after the release of this album.

Check it out and buy the album when it drops! This link won’t last forever. It’s had close to 18,000 downloads already and it’s been up less than 24 hours.

Tha Carter III