The nascent Los Angeles, CA rap group, The New Boyz, who have risen to commercial visibility via the success of their popular dance record, “You’re A Jerk,” hosted a listening session for a group of media personnel (music journalist and bloggers) at Legacy Studios in New York City, to discuss the release of their debut album, Skinny Jeanz & A Mic. After listening to a monologue and anecdote from the Warner Bros./Asylum Records music executives, rappers Ben J (ne, Earl Benjamin) and Legacy (ne, Dominic Thomas), stepped into the studio to play us what everyone was gathered to hear: Skinny Jeanz & A Mic. Below is a track-by-track breakdown of the New Boyz debut album. 

Track 1: “Cricketz” featuring Tyga - With the same kind of upbeat tempo and spare production as the group’s hit song, “You’re A Jerk” (next song on the album), the New Boyz address the haters who question their skinny jeans fashion, retorting that all the chatter sounds like crickets. 

Track 2: “You’re A Jerk” – The song that introduced the New Boyz to the mainstream music scene and spawned countless numbers of “jerkin’” YouTube dance videos amongst the teen audience. 

Track 3: “Dot Com” – As active participants of the “dot com” generation, the New Boyz pay homage to the medium that has helped promote their music and bolster their careers: the internet, also known as, the World Wide Web. 

Track 4: “Colorz” – As fans of the rap group, The Cool Kids, the New Boys offered their rendition of the minimalist, retro-style boom-bap sound the former duo is known for. 

Track 5: “Way 2 Many Chickz” –  The group shares jovial tales of unfortunate experiences with females with un-ladylike characteristics (bad breath, bodily gas, and herpes to name a few). 

Track 6: “Turnt” – Another “jerk” style record that sounds as if it will be accompanied by some sort of a dance. 

Track 7: “Bunz” featuring Kidd SB – Upon hearing this record, it’s hard not to think of Sir Mix-A-Lot’s “Baby Got Back.” An ode to all the curvy woman in the world, the boys clearly reflect their interest in round derrieres with the lyrics: “I like my buns fat and juicy, I don’t want no saggy booty.” 

Track 8: “Cashmere” – Over a pulsating drum beat, the New Boyz use an old school, back-and-forth flow, a la Run DMC, to tell the story about a girl that Legacy is trying to court.

Track 9: “So Dope” – Returning back to their bread-and-butter sound, the group offers listeners another dance track sure to make kids get up and “jerk.” 

Track 10: “Tie Me Down” featuring Ray J – The group’s second single is an obvious attempt at mainstream notoriety, as it possesses a more polished sound that will enable them to build upon the adoration of their female audience. 

Track 11: “New Girl” featuring D&D – Catering again to the ladies, the group takes a page from Soulja Boy by creating a radio-friendly record that will appeal to many adolescent girls, setting themselves up to become music’s next teenage heartthrobs.

Track 12: “No More” featuring O.N.E. – The group continues the theme of being ladies men on this R&B infused track about the highs-and-lows of being in a rocky relationship. 

Track 13: “One Night” – The album closes out with another R&B/hip-hop blend devoted to casual relations.

After years of feeling like his talent was being overlooked by many people, Drake is now finally getting the recognition he feels has been long overdue, and makes it known on “The Winner,” clearly expressed through the lyrics in the chorus: “this is how my speech go, I deserve this sh—t.” The popular newcomer partners up with production team Tha Bizness (Lil Wayne, “Every Girl”; Young Jeezy, “My President”) on this leaked track to create a feel good song celebrating his newfound position in the rap game. The former TV actor (Degrassi: The Next Generation) even claims that his ability surpasses two of hip-hop’s most notable actor/rappers, rhyming “Nick Cannon and Will never did it this ill.” As long as the rookie doesn’t have any more big blunders like the BET awards or releases lackluster videos for popular songs (“Best I Ever Had”), then the Canadian rapper won’t have to wish to “be successful.” Stardom is knocking at Drake’s door, now all he has to do is answer.

 “The Winner” is expected to appear on Drake’s debut album Thank Me Later.

 

R&B newcomer Kevin “KC” Cossom is attempting to make the transition from life behind-the-scenes as a songwriter to being in front of the camera as an artist (he wrote R. Kelly’s hook on Young Jeezy’s “Go Getter”), and makes quite an impression with the release of his EP “PreAlbum.” Signed to hit-making producer Nate “Danja” Hill’s imprint, New Age Rock Stars (N.A.R.S.), Cossom provides listeners a glimpse of what he plans to offer as a singer-songwriter. With its palatable use of the auto-tune sound and grown-and-sexy vibe, “Late Night” can easily find itself in the rotation of many radio programmers’ playlists, as well as the bedrooms of lovers alike. “My Ex” not only features a verse from Rick Ross but also mesmerizing synthesizers that would make any snake charmer proud. Despite being opposite in tempo, “You Know What You Doin’” and “Hang That Over My Head” shows why Cossom’s number is dialed when artists need a record written. Although “PreAlbum” is only eight songs—including an intro and two interviews—it’s enough to satisfy the ear until KC drops the major label debut, which hopefully comes out sooner than later.

On September 3, New York City’s Hot 97 held its monthly “Who’s Next Live” music series at S.O.B.’s, hosted by the station’s own, Peter Rosenberg. The event was headlined by one of hip-hop’s newest and most talked about MCs, Asher Roth. Joining him on the bill was Shalone and the classic group Heltah Skeltah.

Opening up the night in front of a packed house was the lyrically talented and rhythmic assassin, Homeboy Sandman. Next to do his thing was Shalone, assited by a couple of associates on stage, getting the crowd warmed up for the main attraction. Following Shalone’s set, Peter Rosenberg issued some commentary for a few minutes about the man that packed the venue - Asher Roth.

After the introduction, Asher made his presence felt immediately. Joined by a band of herbalist (they passed the weed like it was the mic), the Morrisville, Pennsylvania rapper, delved into songs from his mixtape, “The Greenhouse Effect,” performing “Roth Boys,” “They Know,” “Cannon,” and an acapella of “Just Listen.” After concluding his set, the crowd encouraged Asher for one last song, in which the rapper signed to SRC decided to do his rendition of “A Millie,” graced onstage by fellow up-and-coming artists - Mickey Factz and Charles Hamilton.

Although “The Industry’s Guide” departed before Heltah Skeltah rocked the stage, we now know that the comparisons to Marshall Matthers need to stop (the only thing the two artists have in common is that they’re both talented white rappers; if anything, he’s more comparable to the Beastie Boys ). However, our verdict is in, Asher Roth has the talent, stageshow and charisma to make some headway in the world of hip-hop.

On June 10, 2008, New York City’s premier music showcase, R&B Live, celebrated its one-year anniversary at its regular Times Square habitat of Spotlight Live. The featured guest on hand to help commemorate the special night was Akon and his roster of Kon Live artists.

Produced by 1st Class Entertainment co-founders and music executives Shanti Das (Executive VP of Urban Marketing and Artist Development for Universal Motown) and Eric Nicks (former SVP of A&R for Universal Motown and current manager of the Trackmasters); Lenny “The Barber” Hansen (LTB Entertainment), and DSA Media, the show’s existence is resonating throughout the industry. Speaking on the significance of the occasion, Shanti Das stated: “I think it’s really a monumental day for us because I can remember when my partner and I first started talking about this concept about three—three and a half years ago, and now I feel like R&B Live is the staple for the music industry; and in New York it’s very exciting for us because we were able to accomplish something that hasn’t been done in a very long time.”

This exclusive, invite-only event has become a haven for music executives, recording artists, actors, and other notable entertainment personalities. A major attraction of the event is the venue’s supper club style seating, which enables patrons to dine and watch urban music’s top performers of past and present showcase their talent, creating a casual atmosphere for members of the music community to relax, socialize amongst peers, and be fans on the night.

There were a number celebrities in attendance to observe the milestone, including: Ne-Yo, Lil’ Kim, Busta Rhymes, Michelle Williams, Nina Sky, Yung Berg, DJ Clue, DJ Scratch, The DJ Twinz, Monami Entertainment’s Mona Scott, Czar Entertainment’s Jimmy Henchmen, Imani Entertainment Group’s Manny Haley, Upfront Entertainment’s Devyne Stephens, Hot 97 Program Director Ebro Darden, Hot 97’s Asst Program Director/Music Director Jill Strada, MTV Director of Music & Talent Buttahman, VH1’s Sr. Director of Music Programming Breeze, VH1’s Music & Talent Relations Manager Angela Fisher, BET producer Candida Boyette, actor/comedian Tony Rock, and choreographer Laurie Ann Gibson.

Comedian and host, Drew Fraser, warmed up the audience with an assortment of jokes, establishing the mood before the start the show. The first act to hit the stage was new artist Colby O’Donis, performing his debut single, “What You Got” featuring label boss Akon. Next up was Ray Lavender singing his hit record “My Girl Gotta Girlfriend,” much to the delight of the female patrons. While the first two acts fit nicely into the R&B theme, the night was sparked by the hip-hop acts in Akon’s camp. Brooklyn MC Red Café set the tone for the rest of the evening when he performed his street anthem, “Paper Touchin’,” causing the VIPs to bob their heads and mimic the rhymes in excitement.

Following the great performances by the artists from the States, R&B Live went international, bringing the Caribbean to 49th Street and Broadway. Performing for the first time in New York City was Akon’s group from Saint Thomas, Virgin Islands—Rock City. In opening their set, the brothers showed their appreciation for hip-hop by playing a medley of classic rap songs: “Eric B. Is President,” “Luchini aka This Is It,” and “Hip-Hop Hooray,” immediately winning the support of the crowd. After performing their catchy debut single “Losin’ It,” Rock City elevated the energy level in the building to high, turning the showcase into Carnival with a Calypso inspired routine that forced celebrity guests like Busta Rhymes, Mona Scott and other notable attendees to participate in the revelry by merrily waving their table napkins in the air.

Anchoring R&B Live’s lineup of Kon Live acts was the touted Toronto rapper Kardinal Offishall. The artist of Jamaican heritage started things off with his rendition of “The Tide is High” featuring Rihanna (she wasn’t in attendance), originally made by rocksteady group The Paragons, and later remade by Blondie during the ‘80s. For the finale, Akon joined him onstage, lending his voice to Kardinal Offishall’s single “Dangerous,” before the CEO closed the show with his Kon Live family in tow, serenading Spotlight Live with a few of his featured hits including, “We Takin’ Over,” “I Wanna Love You,” and “Soul Survivor.”

The year is 2719 in the futuristic city of Metropolis, and “android No. 57821, other wise known as Cindy Mayweather,” is on the lam for falling in love with a human. Sci-fi is the theme behind Janelle Monae’s epic EP “Metropolis: The Chase Suite (Special Edition),” sounding as if it could be the score to a major Hollywood or Broadway blockbuster. 

The starlet whom Diddy said “is one of the most important signings of my career,” reached into her imagination to create a musically spellbinding odyssey complete with cyborgs, electro-daggers and other galactic references. “March of the Wolfmasters” sonically sets the tone for the mini-movie, bringing the characters to life and the audio-imagery into viewing mode. The rock-gospel production and power of Janelle Monae’s voice on “Violet Stars Happy Hunting!” is sure to ignite the inner funk in many earthlings. Lush with pounding drums, haunting organ notes, and ominous horns, the musicality of “Many Moons” and “Sincerely, Jane” hint at the Kansas native’s (how appropriate a hometown) performing arts and musical theatre background, as the latter song also reflects her socially conscious side. 

“Metropolis” isn’t the run-of-the-mill record you listen to—it’s the kind of record you experience. 

Label: Wondaland Arts Society/Bad Boy Records

Genre: R&B/Soul

At first mention, one would think Tanya Morgan is a female, but in fact, the name belongs to a trio of male MCs: Donwill, Ilyas, and Von Pea. After garnering major kudos for the group’s debut album, “Moonlighting,” the guys are back with “The Bridge” EP. 

B-Boys at heart, the threesome share a penchant for lyricism, soul samples and a classic boom-bap sound. Starting off the album is the MC Shan inspired title track, “The Bridge,” which is a lyrical testimonial of the members’ Brooklyn-Cincinnati connection. The feel good vibe of “Be You” and “Get Me Inside” conjure up thoughts of family and friends barbecuing, sipping drinks and sharing laughs during the summer months. On “Hip Hop Is Dead II,” Tanya Morgan monitors the condition of hip-hop and assesses its state, as Ilyas offers his prognosis, rapping: “Speaking truth is suicide nowadays, if you’re trying to make a wage more than minimum,” and later adding, “I bring you food for thought and you decide to diet, this sh—t is getting tired, I should force you to try it.” 

With knapsack in tow, “The Bridge” is Tanya Morgan’s pilgrimage back to the essence of rap before they proceed to their next destination—“Brooklynati.” 

Label: Interdependent Media

Genre: Rap/Hip-Hop

With all of hip-hop’s globalization and commercialism, some MCs still identify with the culture through the memories of Run-DMC, Boogie Down Productions and the like. New Jersey born and California raised Raashan Ahmad’s debut solo album “The Push” is rooted in the musical tradition of his predecessors. 

The vintage boom-bap sound and turntable scratches on “Hello” produce a head-nodding beat sure to connect with b-boys. Longing to see the art form return to its former days, he raps on the aforementioned song: “can we get a real hip-hop show, where people dance to the music not just watch the flow; where the bouncers don’t ego trip, DJ spin B-sides, and brown people support the vibe.” Knocking drums and breezy horns lead the charge on the jazzy and soulfully encouraging “If I.” Even with Rashaan Ahmad’s positive temperament, he writes how “The Weight” and pressure of life can be rather stressful. Paying homage to the past, “The Crush” is a tribute to the pioneering rap artists that came before him, while “Give Thanks” expresses his gratitude for the meaningful things in life. 

Since hip-hop has given Raashan Ahmad much to appreciate, “The Push” is his way of giving back. 

Label: Om Records

Genre: Rap/Hip-Hop

“Love Money and Music” is the independent release of Browns Mills, NJ rapper 8thW1. This ten song disc (plus two bonus tracks) is a candid and spirited reflection of 8thW1’s personal philosophies about subjects that matter most in his life: love, money and music. 

In discussing matters of the heart, 8thW1 sounds extremely sincere as he expresses his sentiments regarding love on “A Fool’s Lullaby (Could It Be)” and subsequent doubts about romance on “Heartbeat.” The song “Money” finds the wordsmith longing for financial compensation for his craft, whereas the rock sounding, frat-esque “Drunken Saturday” is 8thW1’s interpretation of partying under the influence of alcohol (it’s like a modern version of the Beastie Boys’ “Fight for Your Right”).

The track “Posers” sets 8thW1’s skills as a lyricist in motion, diving in rhyme-first at the opportunity to taunt pseudo MCs, rapping: “stop chattin’ and stop posin’/fall back like Scarface with coke before stickin’ your nose in,” in addition to the sarcastically witty line, “you do this on the side/like stickin’ d—k inside your chick while ya’ll spoonin’.” 

Love, Money and Music is a fine example of the diversity hip-hop music offers audiences and is certainly an album that people can surely appreciate.

Label: Love Money and Music

Genre: Rap/Hip-Hop

Emerging on the music scene in late 2007 with the retro-inspired single “Black Mags” were the rappers Antoine “Mikey Rocks” Reed and Evan “Chuck Inglish” Ingersoll, collectively known as “The Cool Kids.” Known for their late ‘80s, early ‘90s sensibilities, the pair recently issued the release of their debut EP, “The Bake Sale.” 

With an obvious affinity for the era of gold rope chains and velour track suits, the disc embraces a minimalist production style comprised of simple bass and drum patterns, maximizing the effect of their swaggering rhymes. Sure to make trunks rattle and speakers thump are “One Two” and “Mikey Rocks,” where Mikey raps on the former song, “what it is, what it is, come check the noise, it’s the new black version of the Beastie Boys.” The boast might be warranted as the producer/rapper, Chuck Inglish, channels his inner Rick Rubin on “88,” an ode to the classic year in hip-hop and source of their musical inspiration. Even on “Bassment Party,” the duo recaptures the energy and spirit associated with the Miami Bass sound. 

Without doubt leaders of rap’s alternative movement, “The Cool Kids” did something on “The Bake Sale” that hip-hop’s elder statesmen couldn’t—they made the ‘80s “cool” in the eyes of a generation born during that period of time.

Label: C.A.K.E Recordings/Chocolate Industries

Genre: Rap/Hip-Hop