Monthly Archives: December 2011

Just in time for Christmas: Fabolous – There is No Competition III (Death comes in 3’s)

Just in time for Christmas, Fabolous comes through with the final installment in his There is No Competition series. This time, Death Comes in 3’s is the title as Fab comes with a 15-song mixtape featuring the likes of Meek Mill, Jadakiss, Styles P and Trey Songz among others.

For the sake of all that is good in Hip-Hop, lets hope he leaves the Ray-J jokes out of this project.

DOWNLOAD HERE: Fabolous – There is No Competition III (Death Comes in 3’s) –

Alternate Link 1: via Hulkshare

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Rap’s Most Valuable Player: 1987

1987 has been called a pivotal year in Hip-Hop music. Almost as if we were seeing the passing of the torch, several influential acts began their careers by launching projects in 1987.

LL Cool J released "BAD: Bigger and Deffer" in 1987

One of the most polarizing figures of the 1980s, LL Cool J welcomed BAD: Bigger and Deffer to the world. Although the album is colorful, fun and features one of the most well-known and boastful songs in hip-hop history(I’m Bad), it’s a step down from the pure, unadulterated rawness that was Radio. Though with the power of “I’m Bad” and the original hip-hop love ballad “I Need Love,” LL Cool J still scored another hit as the album achieved mainstream success once again.

Not everything was good for Cool J though. Kool Moe Dee, a member of the pioneering Hip-hop group The Treacherous Three, began denouncing LL Cool J for plagiarizing his style and being a bit too cocky after his mainstream success. It was in 1987 that Kool Moe Dee released “How Ya Like Me Now” which featured LL’s trademark red Kangol hat being crushed under a jeep. Continue reading

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Rap’s Most Valuable Player: 1986

Where 1985’s selection of LL Cool J may have been an easy choice in the eyes of some, 1986 proved that this series may not be as easy as I think.

LL Cool J is another nominee for the title of Rap’s MVP for 1986 as he is still riding the success of Radio. LL might find his name mentioned throughout the 80’s and possibly the early 90’s. We haven’t even made it to my favorite album(Walking with a Panther) yet and I’ve already mentioned LL twice.

Another option for me was The Beastie Boys. Three white boys who came and revolutionized rap music with their brand of punk-rap. 1986 was the year that the trio released their debut album, Licensed to Ill(If there was an award for best album title of 1986, Beastie Boys would win hands down IMO), and became a worldwide success, achieving the first and only 5 microphone award from The Source magazine. Five mics was a big deal back then and to gain those type of props is definitely MVP-worthy.

As worthy as the Beastie Boys and LL Cool J are, the award for MVP of 1986 goes to….



From Left to Right: Jason "Jam Master Jay" Mizell, Darryl "D.M.C" McDaniels, and Joseph "Run" Simmons

Sure the group had been around before 1986, but it was the release of their masterpiece of an album, Raising Hell that allowed the group from Hollis, Queens to change the perception of how successful hip-hop music can be. It can be argued that before the release of this album, hip-hop was regarded as a passing fad that would eventually fade away with time.

Certified triple-platinum and receiving five mics from The Source Magazine, the album was benefited by the addition of Rick Rubin as a producer. Rubin, who had previously worked with LL on his Radio debut, helped popularize hip-hop music with his work on this album along with the works of the Beastie Boys. The single “Walk this Way,” which featured Aerosmith’s Steven Tyler and Joe Perry, became one of the first fusions of rap and rock music to rock the charts. The video for the single also received heavy rotation on the MTV video network(Videos on MTV….seems so stone-age) and helped to Aerosmith find a resurgence in their careers.

There is has also been talk of this album being the start of what is known as the golden age of hip-hop music. The commercial and crossover success of Raising Hell may have helped to influence an incredible period of financial success for hip-hop music. During this period, it seemed as if the music of every credible artist was bringing something new to the table and to the ears of fans everywhere. This is the era that produced some of the best lyrical tyrants, from a Big Daddy Kane, to a Rakim or Nas, surpreme lyricism and political messages loomed within the music. Bars of Black nationalism were also present in many of the songs released during this day and age.

Raising Hell inspired an entire generation of music. That’s more than 98% of rap artists will be able to say in their entire lifetime. For that, I salute you Run-D.M.C. as the Most Valuable Players of 1986.

1985: LL Cool J
1986: Run-D.M.C.
1987: ?

R.I.P. Jam Master Jay

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Lost Rapper of the Month (December 2011): Gucci Mane

It pains me to do this.

I mean it really causes me extreme discomfort to do this to a man who admittedly, is one of my favorite rappers that I’ve had the pleasure of being a fan of.

But it’s time to induct the man who had a good run as my favorite rapper from 2008-2010, Radric “Gucci Mane” Davis.

Remember this Gucci?

This was 2007-2008 Gucci Mane. Underground sensation. Creative legend in Atlanta. As Radric gained more and more success, the hits kept coming. If you were a fan of Gucci, you appreciated his work ethic. You appreciated that he never sold you any garbage;everything Gucci was saying was possibly true. From chickens cooking in the kitchen to an asphalt-colored Aston Martin being washed by a crew of crack junkies, everything coming from his mouth was believable. Secretly though, fans were worried that success might turn Gucci Mane into a lesser artist.

These fears were realized when this new “Gucci Mane” emerged in 2010:

A perfect example of what I’d like to call, “The Gucci Mane Theory.”

The Gucci Mane Theory: An artist who is loved before reaching mainstream success but hated once they reach the mainstream, even though the music quality has gotten better or hasn’t changed

Gucci wasn’t the first, but one of many artists to have this same issue. Gucci’s problem? The penal system of the United States. Gucci Mane left prison for the 47th time in January of this year and walked out into a new chapter of the book entitled Radric Davis’ career. A new chapter where he had lost most of his popularity. Where he was no longer regarded as the future of trap music, but as another troubled waste of a rapper in the eyes of “purist” fans.

Thus the ice cream tattoo…

Thus the quality of his music dramatically declining; There was a time when although he had his critics, there was a significant portion of rap music who viewed him as incredibly creative and consistent…

And now, we have a collaborative album with V-Nasty. And no I’m not lying.

I’m sure Gucci probably wants a check, Warner Brothers want a Gucci record and V-Nasty wants some fame but did this need to happen? And the worst part about it is I’m going to have to at least listen to it. Mostly because of the magic of Zaytoven beats & Gucci Mane, I’ll give it a listen. Will I like it? Probably not. But if Gucci doesn’t care enough about his career enough to stay out of a correctional facility and make better music, I doubt it if he REALLY cares if he sells more than 50,000 copies.

At this point in his career, the former So Icey boss is more concerned with a check than achieving real relevance in the rap game. This lack of passion has led me to induct Radric “Gucci Mane” Davis as the Lost rapper of the month for December.

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