Music Review Of The Week

Bun B :: Trill O.G.
Rap-A-Lot Records

Author: Steve ‘Flash’ Juon

Click here to find out more!Bun B’s legacy as a hip-hop Hall of Famer had already been cemented when he released his first solo CD “Trill” back in 2005. As one half of U.G.K. the Port Arthur[Trill     O.G.] native had a decade+ of hip-hop classics under his belt, but his partner in rhyme Pimp C was doing a long stint behind bars. While some worried at the time that the dopeness of Bun’s solo was the beginning of the end for the group, they promptly reunited once he was released from incarceration and returned at an all-time career high in 2007 with “Underground Kingz.” A few short months later Pimp C was dead. To say this turn of events was perplexing is to say the least an understatement. The Kingz gave their fans what they had been waiting for so long while Pimp C was gone, and just like that he was gone again – only this time for good. The real fucked up twist to all of this was that Bun had already proved he could ride solo and succeed before his friend and confidant left this Earth. Would he even want to do it again?

Hip-Hop got lucky. Bun was able to ride out his pain and come back even stronger on “II Trill,” assuring that both his legacy and U.G.K.’s would continue to ride on through the decade and beyond. It’s 2010 now and Bun B is back for a third go around on “Trill O.G.” sounding as confident as ever. On the Steve Below produced opener “Chuuch!” the crooners on his hook sum up the situation this way: “I came to tell the truth, the whole truth and nothin but the truth/I came to represent for the South in the streets and in the booth.” And represent he does:

“We back baby, and better than we ever was
It’s U.G.K. so quit actin like we never was
You see the crew is II Trill, and in effect
And Rap-A-Lot is rollin with us, we fin’ to wreck
So ask Em, ask Hova, ask Diddy
Go ask Yeezy, Jeezy.. ask Fitty
And they’ll tell you I’m throwed when I spit it
And still in here doin it, you can’t fuck with it
And I’ma hit in the chest with the nina
Reppin H-Town like James Prince Sr.
Am I hard enough? Am I real enough? Am I ready?
Bro well you already know; on your mark, set, ready go!”

Fittingly this is just a warm up – “II Trill” keeps getting hotter from this point forward. Justice L.E.A.G.U.E. lays down a smooth pop backdrop for a collabo’ between Bun B and T-Pain on “Trillionaire,” an instrumental eerily reminiscent of Polow Da Don’s “Hero” for Nas.

Bun B: “I’m tryin to take this to the mountain top, Appalachian (‘lachian)
But it’s a rocky road (road) and I’m still movin up
And ain’t no movin us, so keep it pushin, get to movin bro (for real)
You might be new to me but you know I ain’t new to ya
Go ask the white boys, they say he’s totally tubular (dude)
Fuckin bad bitches, rub my dick against their uvula
Everytime I hit the streets, it’s like a fuckin movie bro (damn)
You know what I do to ya, send gladiators through to ya
They gon’ leave ya chopped up, like they was DJ Screwin ya, hold up”

T-Pain: “Yeah, I know they hatin on me (on me), cause I’m the man (’cause I’m the man)
I’m too trill homie (trill homie), I don’t give a damn (I don’t give a damn)
I’m a self made (self made), trillionaire (trillionaire)
I’m a self made (self made), trillionaire (trillionaire)”

If hip-hop’s most trill artist wants to declare himself a trillionaire, I say go ahead. What some might miss is that he’s not using this mythical status (there are no single individuals alive today worth a trillion dollars) to flaunt excess wealth. Bun would be just as trill as a thousandaire, because for him it’s all about a state of mind where he achieves his goals regardless of his bank account. Guest rappers like Young Jeezy on “Just Like That” spent far more time bragging about what their money buys than Bun, although he will occasionally floss for the sake of a punchline: “Now when it come to makin money I’m a printin press/and when it come to bein trill I’m the litmus test; run it like a fitness test.” Bun has always taken being a badass in rap to a higher level, wanting to impress listeners with the strength of his wordplay first and the size of his bank account second. The DJ Premier produced “Let ‘Em Know” epitomizes this philosophy perfectly, a Texas reunion that needs to be done again and again, one that opens with a shoutout to Guru and a vow this was a “long time comin’ baby”:

“Okay, Bun is on the mic, Premier’s on the track
The South is in the house, now what can fuck wit that?
And what can fuck wit this? I take shots and don’t fuckin miss
First on your baby mama bucket list
You on some sucka shit, might as well suck a dick
‘Cause you bein a bitch just for the fuck of it
And when I fuckin spit, niggaz get to tuckin shit
Tryna duck down wherever they can fuckin get
They better ask somebody
‘fore I have Big Truck pass the shotty and blast somebody, bitch!
Mastered the flow, the gun and the hand game
Now I’m resurrectin a REAL nigga campaign!
Fake ass niggaz, we snatch ’em out the damn rain
Take they damn chain, hit ’em with the damn thang
BANG! Now that’s what happen when the trigger blow
Aiyyo Premier, let a motherfuckin nigga know!”

If you don’t love this song, just retire from hip-hop right now and go fuck with some Pat Boone records. Seriously. There’s much more to love on this densely packed 20 track album, although I’m given to understand some versions come with less – around 16 in fact. So let’s rule out the bonus tracks or iTunes deluxe edition tracks and say this – you may not fuck with a better album the entire month of August. I’m sure there will be some good releases at some point, but it’s awfully hard to name a bad track on “Trill O.G.” anywhere. The collaboration of Bun, Pimp C, Trey Songz and TUPAC SHAKUR on “Right Now” is EPIC. I normally can’t stand Gucci Mane on tracks, but Bun B even makes him tolerable on the pounding B-Do beats of “Countin’ Money All Day.” There are much better guests though – Drake flosses on the almost six minute long Boy-1da song “It’s Been a Pleasure,” Twista takes things to a triple time flow from Chicago on “Speakeasy,” and Slim Thug lives up to the title of “Ridin’ Slow” when he gets down with Bun and Play-N-Skillz, a track that vows to “shake the sidewalk” and should succeed in that aim and claim. I make no apology for being a long time Bun B fan, but if this is your first time getting down with the man then “Trill O.G.” will undoubtedly make you a convert too. R.I.P. Chad Butler.

Music Vibes: 8.5 of 10 Lyric Vibes: 8.5 of 10 TOTAL Vibes: 8.5 of 10

Originally posted: August 10, 2010
source: www.RapReviews.com

Hip Hop Album Sales: The Week Ending 8/8/2010

Hip Hop Album Sales: The Week Ending 8/8/2010

Bun B’s third independent solo crushes the charts and expectations, Fat Joe falls 85 units, while Drake and Usher can expect to hit the million mark this month.

Eminem’s Recovery was thought to maybe get #1 back. The Aftermath release did not, as Arcade Fire’s latest outsold it by 4,000 units.

One of this year’s true surprises came courtesy of UGK’s Bun B. The Port Arthur, Texas’ emcee’s third solo album, Trill O.G. debuted at #4. Bun’s album is the first since moving his Rap-A-Lot Records distribution from Asylum to Universal Fontana. The third in the “Trill” series features appearances from Drake, Gucci Mane and posthumous verses from 2Pac and Pimp C, while production is handled by DJ Premier, Boi-1da and veteran UGK producer Steve Below. For an independent project, Bun’s Top 5 debut and 40,000 in sales are one of the more shocking Rap chart performances this year.

Rick Ross was a spot behind Bun, inching towards 300,000 units moved of his acclaimed Teflon Don. The Def Jam rapper’s fourth official album features work from veterans such as No I.D., DJ Clark Kent and Cee-Lo. Drake’s Thank Me Later fell to #8, as four Rap releases occupied the Top 10. Drake’s official debut is expected to reach the million mark in two weeks, though a strong next week could achieve that feat early.

Usher‘s Raymond v. Raymond appeared at #17. The veteran Pop entertainer’s “divorce album” is marching its way to a platinum plaque for Mr. Raymond and his longtime backer, LaFace Records. The album will feature two deluxe/additional material releases this month.


* Please note: figures below approximated to nearest thousandth.

Top 200 Album Sales (Top 5 Hip Hop/R&B)

Rank Artist Album This Week Est. Total
2 Eminem Recovery
152,000 1,980,000
4 Bun B Trill O.G.
41,000 41,000
5 Rick Ross Teflon Don 39,000 279,000
8 Drake Thank Me Later
31,000 946,000
17 Usher Raymond V. Raymond
16,000 990,000

Outkast’s Big Boi slid to #36. His critically-acclaimed Def Jam debut, Sir Lucious Left Foot: The Son of Chico Dusty features artists such as T.I., Gucci Mane and Too Short, with production from Organized Noize, Scott Storch and Lil Jon. The Roots‘ acclaimed How I Got Over is nearly parallel to Big Boi. This other Def Jam release features extended Roots family Dice Raw, Truck North and others, in addition to Blu, Phonte and Peedi Peedi.

Tech N9ne‘s The Gates Mixed Plate went a Top 15 debut to #89. The Gates Mixed Plate features Glasses Malone, Devin The Dude and Jay Rock, among others, as yesterday the rapper announced a fall tour with Malone, Rock and E-40.

Fat Joe fell out of the Top 100 with The Darkside Volume 1, a total of 85 units. The release marks Joe’s debut with E1 Entertainment, and features work with DJ Premier, Just Blaze and Too Short. The darker-themed album has critics comparing it to Joe’s first three albums. Despite the strong praises, the work’s sales have become an object of ridicule from Joe’s nemesis, 50 Cent.

Former Young Money and No Limit Records artist Curren$y hung on to the bottom of the charts with his Def Jam-distributed Pilot Talk. Produced by Reasonable Doubt architect Ski Beatz, and featuring Mos Def and Jay Electronica, the New Orleans emcee is sitting just over 20,000 units overall.

Rank Artist Album This Week Est. Total
36 Big Boi Sir Lucious Left Foot: The Son of Chico Dusty
10,000 130,000
62 The Roots How I Got Over
6,400 120,000
89 Tech N9ne Collabos The Gates Mixed Plate
5,000 22,000
112 Fat Joe The Darkside Volume 1
4,100 16,000
193 Curren$y Pilot Talk
2,500 22,000

Will Mike Posner impress the charts? Can Boots Riley make a strong return with Street Sweeper Social Club’s latest EP?

Found At HipHopDx

Charles Hamilton Decides To Leave The All City Chess Club

Charles Hamilton announces his departure from the All City Chess Club.. this is sad. Read the letter below.

“So I am announcing my exit from All City Chess Club. I’ll work with J. Cole, because me and him are the 2 greatest rappers in the 21st Century. Lupe, you wanna do a track, you holla at me via Facebook or sumn. I’m sure Dino Rhymestyle got it for you Ash is cool, BoB and I worked together, Diggy has stage presence, but Wale hasn’t addressed his beef with me to me yet, and Blu did some sucka ass sh1t on the phone just now when I tried to address him being cool and in the same group.

Hence the lack of collabos now. I’ll work with…
Read the rest of the story here at ACCC

In Salute of El-P…

In Salute of El-P…

by xxl staff

Even though yesterday’s post about Goretex’s 2004 album The Art of Dying didn’t exactly ignite an inferno of comments, I feel good about it. Why’s that? Well, it’s a sense of (perhaps misplaced) accomplishment. If not for that self-written blog, Goretex’s name might not have ever been uttered on this website, for (justifiable) reasons mostly having to do with his recent inactivity, not to mention longstanding obscurity. But, when the calendar hits and it’s my turn to once again man the XXLMag.com staff blog for a five-day clip, I consider it time to let my eccentric flag blow in the Internet’s breeze. For better (the occasional, “Finally, so-and-so-rapper gets some love on this site”) or, more likely than not, for worse (see the amount of comments bestowed on yesterday’s post).

Not that I’m complaining; rather, I’m just observing a truth and thinking out loud (via my laptop’s keyboard). And, unsurprisingly, today’s blog is centered around another unsung underground artist usually absent from this site’s pages, though, unlike Goretex, today’s recipient of my blog love (pause?) is an undisputed titan of the independent hip-hop scene: El Producto himself, producer/rapper/former label head El-P.

The best part about it, though, is that the one-time artistic director of the now-defunct indie record-brand Definitive Jux did just release a new record, so the timing here is convenient. Last week, his Weareallgoingtoburninhellmegamixxx3, a mixtape comprised of instrumentals and remixes distributed by Gold Dust, was unveiled, and it’s a typically bombastic array of solar funk, heady boom-bap and dizzying electronica. Meaning, it’s quintessential El-P while still exhibiting some musical progression. I’m more into his older stuff, but I can still rock with the new.

Understandably, El-P’s music polarizes rap lovers into two factions: those who swear by his one-of-a-kind style and those who dismiss it as nonsensical noise pollution. I, obviously, fall into the former category. To be more precise, I subscribe to the notion that the Brooklyn-born El-P is one of hip-hop’s most overlooked production behemoths. Stumble into any random “best producers in the games” discussion amongst rap listeners and the chances of hearing his name muttered are slim to none. And don’t even get me started on “best producer-rappers in the game” debates. I’m no dummy, however; I get it. It takes a certain type of ear to mess with El-P’s sonics. Doesn’t mean that his naysayers are inexcusably wrong—just means that they’re not on the same wavelength as a head such as myself.

Full disclosure, at the expense of my fellow El-P fans: I became a supporter of his work after Company Flow. Of course, once I signed up for his fan club, I immediately went back to Co-Flow’s seminal Funcrusher Plus (Rawkus Records, 1997) and I’ve hailed it ever since. But, for me, the saga began with his solo debut, 2002’s mind-boggling Fantastic Damage (Definitive Jux). The only reason why I ordered the CD online without having even heard a single track was that every review I’d read of it on the Internet praised it as some kind of avant-garde masterwork. Granted, I was logged on to mostly underground-favoring sites, but whatever. Something told me that I’d dig it, and, as you can tell, I did. And then some.

Listening to Fantastic Damage for the first time was on par with giving Stanley Kubrick’s film 2001: A Space Odyssey (1968) its first viewing—cue Redman’s “Blow Your Mind.” Fantastic Damage pummeled me, in a good way—the chill and claustrophobia of “Deep Space 9mm”; the…

Read the rest of the story here at XXLMag.com

Milwaukee Man Arrested for Impersonating Drake’s Manager

Yet another con man has been arrested for impersonating Drake’s manager, and attempting to rip off unsuspecting promoters looking to book the rap star.

According to a complaint filed by Milwaukee, Wisconsin promotions company, Eagles Entertainment, Joey Turner Jr. (aka Jo Flowroshus) posed as Drake’s manager, Cortez Bryant recently, and bilked the promotions company out of a $9,000 deposit for a show scheduled to take place Sept. 1 in Milwaukee.

“In making his statements said defendant knew that said statements and misrepresentations of defendant were in fact false and intentionally fraudulent,” stated Eagles Entertainment’s lawyers.

This is not the first time con men have attempted to dupe promoters via phony Drake bookings. Back in February, several fake Drake bookings were made in the South by a man who similarly posed as Drake’s manager.

“It has been brought to my attention that false promoters and booking agents are illegally using my name and likeness to promote concerts and club appearances for their own financial gain,” Drake said at the time. “I apologize to any fan that has been a victim of these circumstances or feels let down by false advertising.”

Eagles Entertainment is seeking $27,000 in their lawsuit against the fake Cortez Bryant.

On September 20, Drake kicks off his official Light Dreams & Nightmares tour in September with the Clipse.


Read original story at TheBoomBox.com

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