mixtape maestro (2.0)

While nothing could match the heights that Snoop Dogg scaled when his lackadaisical delivery was paired with Dr. Dre’s G-funk beat terrains, in his late-career excursions, it’s been The Neptunes who have consistently provided the Doggfather with the material needed to remain just as commercially relevant as he nears closer and closer to age 40 and his twentieth year in the game, whether it’s through digitized updatings of the rapper’s old hood-boy bop (“From The Chuuuch To Da Palace”, “Drop It Like It’s Hot”) or radio-friendly ditties that paid tribute to his undying adoration for summertime soul (“Beautiful”) and sleek, ’80’s-era disco-funk (“Let’s Get Blown”, “Signs”).

For “Special”, the Neptunes’ lone offering to Snoop’s tenth album Malice N Wonderland, that hit-making chemistry is kept afire with the Virginian production duo lacing Snoop’s eased flow and Valentine’s Day promises with another one of their purrty, keyboard-dominant arrangements while Pharrell and (a suddenly everywhere) Brandy blissfully croon sweet nothings back and forth on the hook.

It’s a blatant “Beautiful” re-write and far away from the aggressive, undercover cop-spooking lyricism that Snoop became a household figure with so long ago, but of all the various ‘90 hip hop sub-genre detours Snoop (sometimes awkwardly) skips through throughout Malice, “Special” is the one where he fits in the most comfortably, not only because you could totally envision Snoop giddily vibing with the instrumental on loop as he rides through the streets of Cali, but the “grown man” way he praises Wifey (“I’m puttin out the blunt cause I see/ That I need you more in my life than I need a bag of weed”) carries this endearing grasp of authenticity and intimacy, sounding like something that could have actually been in his vows during his 1997 wedding (or 2008 vow renewal) to high school sweetheart Shante.

“Special”:

BONUS DL: Snoop Dogg featuring Justin Timberlake & Charlie Wilson “Signs (Siik Remix)” (alt)

Uncategorized brandy, charlie wilson, justin timberlake, malice n wonderland, neptunes, pharrell, siik, snoop dogg, west coast rap

So…did Clipse think that the only reason why folks weren’t all that madly in love over their ill-fitting feel-good summer jam “I’m Good’ was because of their initial lyrical contribution, the video, and the lack of guest stars?

Or that re-releasing the same damn single with the same damn beat and Pharrell-featured hook, but a brand new video clip, a so-so Rick Ross cameo and entirely different lyrics would change people’s minds about the record?

Beyond the nice-to-know FYI that as far as drug dealer code words for cocaine go, Taylor Swift is the “new” Christina Aguilera, the point of giving us an “Im Good 2.0″ that’s just as needless as the original has us perplexed. Why can’t they just do like 50 Cent did when each one of his fifty or so Before I Self Destruct lead singles failed to click with audiences: act like “I”m Good” never happened, and move on with the release of a totally new single?

Uncategorized clipse, pharrell, remix, rick ross, til the casket drops

It’s funny how after all the stunned reactions arising from the news that The Neptunes wouldn’t be the sole beatsmiths on Clipse’s upcoming Till The Casket Drops, out of the three tracks leaked over the last couple months, the one not helmed by the ‘Tunes team has ended up the most appreciated.

“Kinda Like A Big Deal” may have lacked some truly solid verses or a sturdy enough hook (and remarkably saw them outshined by guest star Kanye), but hearing Pusha T and Malice atop DJ Khalil’s hard-knock tumble just felt right, this sinister combination that excitingly hinted that Casket was going to be something special (and maybe…perhaps…hopefully produce the “Grindin” Pt. 2 we had pathetically been anticipating for so damn long).

Then arrived the worrying “I’m Gone”, a summery track swimming in slippery glossy synths, Pharrell soul-boy chirps and materialistic focus, that even when gifted with a couple oh-so-Clipse-y lines failed to really register as an actual Clipse cut for the first four or five listens.

On the latest Casket drip “Eyes On Me”, the Virginia duo unfortunately give off a similar “what the hell is going on with this album” impression. A blatant aim at commercial/ club attention (which the duo have always seemed to only be able to achieve by accident, or at least attain without losing their street grip), “Eyes” gets it’s coke-rap rhymes out early (“I’m talking cooking up that slumdog millionaire” goes one opening line) before shifting it’s entire heart during the last three-quarters at admiring the name brand-fixated vixens who love the boys’ bottomless bank accounts.

Further solidifying the record as a ladies’ anthem of sorts is a poppy boom-bap shuffle more fitting for a pop tart’s sex purr, Pharrell’s hook boast of “getting dressed like I belong on TV” and a random Keri Hilson cameo that lasts no longer than sixteen seconds. All elements that would have felt perfectly fine if this was a Pussycat Doll/ Britney Spears creation, but when placed as a backdrop for the Clipse, disappoint in it’s bid for Top 40 love.

We’ll try not to come down too hard on the duo for trying to earn some mainstream money (they did go on about blowing through “a hundred thou in a recession” on “Deal” and might just be playing things smart), but let’s hope that after this and “I’m Good”, the whole of what’s left of Casket delivers nothing but the oft-kilter production menace and clever drug-lord rhymes we’ve been yearning for.

Till The Casket Drops is set for a September release.

DL: “Eyes On Me” (alt)

Uncategorized clipse, coke rap, keri hilson, pharrell, virginia

For months, it’s been difficult to escape the hyping of alt-pop-meets-hip hop, Harvard grad duo Chester French. From the endless “ones to watch” music press/ blog shout-outs to the high-profile support of A-list hip hop figures like Kanye West and eventual label boss Pharrell Williams, we’ve been damn near brainwashed into becoming fans of these cats.

Thankfully, the bits of Chester French music we’ve actually heard (the ’60’s-washed first single, “She Loves Everybody”; that insanely catchy Common collabo, “What A World”; their surprisingly neat remix of Jay Z’s “Excuse Me Miss”) has helped in justifying all this early praise.

Hoping to build up an even stronger buzz for debut album Love The Future (while further highlighting their cool circle of friends), the team of Maxwell Drummey and D.A. Wallach recently dropped the pre-official release mixtape, Jacque Jams, Vol. 1 – Endurance, which tracks the on-the-rise trek of their previous six years through material both old and new, some amusing skits, and the “exclusive” inclusion of a self-produced Lady Gaga remix, not to mention a laundry list of cameo appearances that includes Diddy, Jadakiss, Bun B, Solange, Talib Kweli and Cassie amongst others.

Preview a couple of MM’s faves below:

It’s kind of sad that Janelle Monae still hasn’t quite set the world on fire with her brilliant sci-fi-soul sound (you NEED to pick up Metropolis The Chase Suite like right now), but nevertheless she makes for a great duet partner on the geeky puppy love ode “Nerd Girl”, a prance-y mix of Beatles vocal creaminess and ’80’s synth-pop tenderness.

“I wear tiny suits and bowties, some might call me strange,” she coos. Oh Miss Monae, that’s hardly a bad thing.

DL: “Nerd Girl” (alt)

Meanwhile, “Life In LA” details guest stars Pharrell Williams and Jermaine Dupri’s wild and crazy sexcapades with the City of Angels’ bottomless well of overly worked on, coke-sniffing Barbie Dolls atop old school rap drum clatter and space-age ambiance. Unfortunately, the good times are all over for the French boys, who’ve partied all their dough away and now must leave all the fun and sun behind.

DL: “Life In LA” (alt)

You can pick up the entire entertaining collection here; Love The Future, drops April 21st.

Uncategorized 60's, 80's, alternative, bun b, cassie, chester french, common, diddy, janelle monae, jermaine dupri, kanye west, mixtape, pharrell, solange, talib kweli

As proven on previous club banger singles “What It Is”, “Light Your Ass On Fire” and “Pass The Courvoisier, Part II”, whenever Busta Rhymes’ animated flow is matched with the Neptunes’ cartoon-ish digi-funk beats, a good time is about to be had. That golden chemistry is highlighted once again on the the two forces’ newest collaboration, Fast & Furious soundtrack cut “G Stro”.

Anchored in standard ass-shaking request banter, “G Stro” doesn’t really stretch the creativity of either Busta or the ‘Tunes too far (the beat could have easily come from the Virginia production team’s early-00’s heyday), but damn if the nimble bass groove, handclap-laden breakdown or Busta’s contagious mic presence don’t get you out of your seat.

DL: “G-Stro” (alt)

Uncategorized busta rhymes, make it rain, neptunes, pharrell

“Do you really think you’re better than the rest?/…Bitch, I’m the best!!” Weezy punctuates the final verse of his latest leakage, the Pharrell collabo “Yes” (props to the NMC). And while we would love to start off the new year not being as mesmerized by this shamelessly over-exposed mic king, we’re going to have to go ahead and agree with his conceited claim, at least for this tune.

“Yes” is a relentless barrage of handclaps, low-rumbling space-age grimace, and Chuck D-as-hype-man vocal samples that still gives Wayne the needed room to dish out more of his wicked one-liners, winding word-play and newly invented slang (We’ve adopted “panty pie” as our new term of the month). Even Pharrell, in an abbreviated intro cameo, manages to pull off a winning line about naming his ride “Tonto” (though let’s not confuse anyone into thinking that an In My Mind Part Deux is needed).

Our lone complaint: That Clipse weren’t allowed to murder this beat first.

DL: “Yes” (alt)

Uncategorized lil' wayne, neptunes, pharrell

On his TIT-illating new cut “Punch Drunk Love”, Common leap-frogs away from the addicting, Bambaataa-influenced B-boy-isms of preceding single “Universal Mind Control” to get all “LL Cool J” on the ladies with assistance from pals the Neptunes and Kanye West

Heavy on near-eye-rolling lines like “You can call me Daddy/ I’m a put you to bed” and “I come from Chi-ca/ So in I go”, “Love” doesn’t really rank among Common’s lyrical best (though he does get a couple of clever points for “we exchange like students cause I study a-broad”) but it’s a fine sex-rap entry nonetheless, mostly thanks to the production’s lightly knocking, slow groove R&B stew and Pharrell’s very Teddy Riley-like, vocoder-enhanced solo towards the end. Plus, it’s always nice to hear a non-robo-voiced West anywhere these days, even if he is somewhat disappointingly relegated to just handling the hook duties here.

Still, for a better glimpse of Common-as-horn-dog, a re-listen to 2005’s sublime-and-sexy “Go” (also featuring an abbreviated cameo from Kanye) is recommended.

From Common’s upcoming, Universal Mind Control, due December 9th.

DL: “Punch Drunk Love” (alt)

Uncategorized common, kanye west, neptunes, pharrell, sex-rap

With so many hits between them, it seemed like a surefire thing that Pharrell and Kanye West’s In My Mind duet “Number One” would live up to it’s title and reach the top of the charts. How could anyone resist another dose of Pharrell’s earnest falsetto croon and The Louis Vuitton Don’s witty, big-headed boasts (“I resurrected my gold Jesus of Nazareth/ Now we Fresh as a Prince/ while they Jazzy Jeff”) all on the same track over a blissful synth R&B production fresh out of the mid-80’s? Surprisingly, it seemed people could, as the single only drew a modest chart placing (#57 Pop, #40 R&B) despite it being the only true outstanding moment on Pharrell’s super-disappointing solo debut.

Under the moniker P & The Yessirs, Pharrell has decided to re-release the album based on live instruments much the way NERD would favorably re-shape their In Search Of… album. With the aid of ?uestlove, this revisiting of “Number One” greatly enhances the track’s initial summery appeal. ?uest brings a cozy texture to the feelgood steppers’ groove, already reminiscent of Frankie Beverly & Maze or Bill Withers, with his effervescent drumming laying the foundation for shimmering keyboard embellishments and the kind of soothing bassline-funk R&B has shamefully forgotten about.

Hopefully under this exhilarating new makeover, “Number One” can achieve the kind of appreciation it missed the first time around.

Number One (Questlove) – P & The Yessirs

Uncategorized 80's, kanye west, pharrell, questlove, remix

The sad aspect to Twista’s last album failing to make much of a commercial presence was that fewer people became acquainted with the lush album highlight “Lavish”, a collaboration between the speedy-tongued emcee and Pharrell/ Neptunes. The track sounded like heaven’s golden gates were opening, Twista and Skateboard P’s uzi-fire back-and-forth banter wrapped in a gorgeous blanket of cloud-soft pianos and synths. The two made for a great team, but the starry-eyed track never saw the light as an official single. Thankfully, they make up for that loss by hooking up for the stimulating first single off of the Chicago rapper’s newest album, Adrenaline Rush 2007.

As the Neptunes have taken a recent backseat to Swizz Beats and Timbaland as the season’s go-to-hitmaker (maybe because Pharrell’s ego was hurt after the dismal reaction to his heavily-hyped solo album, In My Mind), it’s given listeners time to miss their alt-minded, nimble blending of live instruments and computer-based constructions. Compiling signifiers of Chad and Pharrell’s classic catalogue, “Give It Up” takes the tribal bit from Nelly’s “Flap Your Wings”, the vibe of Mystikal’s “Shake Ya Ass” and tosses in some Kaleidoscope-era Atari key accents. Together, it makes this the latest urban cut to worship the percussive-heavy spunk of go-go, a genre that retains enough energy to keep up with Twista’s accelerated delivery.

The Dynamic Duo waste the lively track on trite multi-racial booty hooks (“Black girls wanna give it up/ White girls wanna give it up/ Spanish girls wanna give it up”), but the beat is so inviting and Twista makes nasty talk sound so good, that such eye-rolling subject matter can be forgiven.

Download: “Give It Up” (Amazon)

Uncategorized neptunes, pharrell, twista

Hoping for a career resurgence that would make her a pop chart/ pop radio heavyweight once again, Madonna is following in the footsteps of every other major pop act it seems these days and hooking up with some of urban music’s finest for a hip hop-influenced new album that’s been getting deafening buzz. When rumors of a supposed duet with Pharrell on a charity release entitled “Hey You” hit the ‘Net, everyone squealed with delight over what this new fusion would sound like. Such a treat seemed to be too good to be true, cause the download revealed itself to be nothing word had made it out to be.

A folk-tinged mid-tempo in which Madge gets all “We Are The World” over marching band drums, “Hey You” ends up as preachy and cheesy as expected out of a charity single, at one point urging you to save yourself so that you can eventually help rescue someone else. The song only bears a slight Neptunes touch, if any at all, and Pharrell is nowhere to be heard, quite thankfully though, since we wouldn’t have wanted to hear his impish ’70’s soul falsetto in this sort of setting. Vocally, Madonna continues to impress, showcasing those “Evita”-trained pipes superbly, but after getting all amped to hear the aging “Material Girl” get all “London Bridge” on us, this is a total letdown.

Download: “Hey You”

Uncategorized charity, madonna, pharrell