Twista – Wetter f. Erika Shevon (Chop Steak BTGTBW Remix)
It is a hot, dry summer in TX, so I put together this remix of Twista’s “Wetter.” Enjoy, and give me some feedback via comments or email, please!
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LA Times confirms it. I can’t say anything other than that I am shocked and saddened by this news in a way I have a hard time putting into words. Peace to him, his family, and all his fans.
Where heading to NXNE this weekend, so back once again from a few technical difficulties we present you with this wonderful blog. I’m going to keep it short and sweet this week, so check it out.
Dubb Sicks rocked the Music Vault in Harker Heights with Stephanie Salvo and proceeded to tell all female mc’s to bring their pussies on if they wanted to challenge.
We met Kosha Dillz back at SXSW, and he hit us up to let us know he recently won a battle at Hot 97′s Summer Jam and a record contract with Duck Down, MASSIVE.
Man just check it out, we’ll be rocking Club Harlem in Toronto on Friday the 19th, make sure you check it out. Holla at ya boys, I gotta run, forgive me if I missed something, peace. Oh yeah there is some confusion about fried chicken and Canada in the beginning….but you ain’t hear that from me.
The 54 Reality show is a production of Killeen rap duo, Crew54. They are the sole controllers of its content. Their original post can be found on their blog, “The 54 Reality Show.”
Yeah, I made up a word, but I feel it was appropriate for whats going down. I wanted to take the time to let ya’ll know that the long list of folks who hold us down has gotten longer, as the 54 Reality Show can now be seen on the homieChopsteaks blog.
The 54 Reality show is a production of Killeen rap duo, Crew54. They are the sole controllers of its content. Their original post can be found on their blog, “The 54 Reality Show.”
Because I like to keep bringing you the best local hip hop content all in one place, I have partnered with Killeen’s Crew54 to post their weekly vlog, The 54 Reality Show on Chop Steak Music. We hope that this will help spread the word on their comings and goings in the local scene, as well as make it that much easier to get all your Texas hip hop coverage. For those that love their site, don’t worry, it’s not going anywhere, and I definitely recommend everybody check it out for back episodes. Please bear with us as we make sure all the technical details are up to speed, and keep an eye out for M.O.S. and G-Christ in the streets of ATX.
From my man Haji Haj, mastermind and producer for the collective, Dumhi, comes a little mix of old and new tracks in anticipation of their upcoming EP’s. Featuring Dumhi rappers, Shameless Plug, FLUD, and Mash Comp, as well as other friends and collaborators, the 12-track blend is their usual eclectic mix of of underground bangers and simmering low-key funk. There are some pretty nice tracks on here, and at the low, low price of free, you can’t go wrong.
Sorry about a little audio clipping, but this was a great set, recorded at the crib of my boy Corey, a.k.a. CRich. As mentioned, you may find more info about his Supa Soul Sunday party here or email them.
First of all, I apologize for the hiatus from the blog, but I’ve been busy finishing up my EP. This post isn’t exactly news, but I don’t know if I ever posted it on here, so I thought I’d remind you that our 2008 mixtape, Southern Soul is available for free download. Thanks for your patience. I promise I’ll have hot new music for you soon, and that I’ll be back on schedule with Chop Steak Music ASAP.
In Hip Hop, as in life, time marches on. Generations of stylistic movements are measured in individual years, and next-big-things become has-beens in less time than it takes to release consecutive albums. Still, like alligators or sharks, some acts seem to defy time, living fossils of eras gone by that still manage to be relevant year after year. Meth & Red are certainly beloved by their audience, but their respective transitions to elder statesmen of rap haven’t been completely smooth. Method Man never quite recaptured his mid-90′s magic with subesquent releases in his Tical series, and while Redman has fared slightly better in the quality department, his output has been sporadic at best in the last few years. With that said, this album ambitiously attempts to pick up almost exactly where the first Blackout! left off. Could they, collectively, push on unchanged, and still make passionate, high quality hip hop in the same mold they used over a decade ago? Thankfully, yes.
On the mic, Mef & Red have changed almost exactly zero since they dropped, and that’s just fine. The pop culture references have been updated, and a few new tricks have entered the reportoire, but it is still the same instantly recognizable pass-the-mic dynamic, with all the standoffish boasting and flatly delivered punchlines. If you were expecting a lot of thematic diversity, you apparently haven’t ever heard a Method Man or Redman record. They do a few things exceptionally well, and stay more or less in their lane for the entire set. They have not lost a step in all this time, though, and still have snappy, energetic delivery as they smugly drop punchline after punchline, and continue to puff on weed. Guest appearances, from Bun B to Keith Murray, all add to the album, but the Raekwon/Ghostface feature, “Four Minutes To Lockdown,” is the best of the bunch. True, Iron Lung & Doc haven’t expanded their reportoire in all these years, but they still make it work, and that is commendable.
Production on the album bears similarities to the first Blackout!, but it is overall not quite as dark or low-fi. RZA’s hand is notably missing in this regard. Still, chunky underground bangers abound, and many of them are quite good. “Errybody Scream” and “Dangerous Mcee’s” fall into this category, rocking grimily along as Meth & Red growl over them. Funky offbeat soul, showing Red’s influence, makes a few appearances as well, the best example being the wah wah guitar, vibes, and flutes on “Father’s Day”. Pete Rock laces the first single, “Ayo,” with some soul as well, and it is one of the better cuts on the album for it. Something brand new for the pair was the southern-fried “City Lights,” a Bun B feature. Using a Pimp C vocal sample for the hook, they manage to pull it off perfectly, and give a slowed down swagger to the dark beat. They even flirt briefly with the most cringe-inducing stunt in current hip hop, autotune, and manage to make that an asset too, if only in a small dose. Still, there is no “Blackout” or “Rockwilder,” and that is the one way in which the original Blackout! is clearly superior to this album.
Meth & Red managed to dust off their old formula, and found that happily, it still works. They have successfully proven themselves living hip hop fossils from the 1990′s and seem very content to have done so. The album lacks a standout track (or tracks) to take it to classic status, but it is a very solid set, and any Method Man & Redman fans would be remiss not to add this to their collection.
Method Man & Redman | Dis Iz 4 All My Smokers
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It’s been almost a decade since Little Brother more or less singlehandedly flipped the script on hip hop imagery, and created a cult following for rapping about the everyday life of the unsigned emcee. Drawing from the more frank stylings of acts like Common and the Native Tongues collective, they embodied the IT worker who kicks raps in his closet on his day off and the beatmaker who has to balance taking time to hone his skills against having to sell mixtapes in the streets and still somehow keep the lights on. Apparently there are more quite a few of us (I’ll happily include myself in this category), and those who sympathize, because they spawned a whole subgenre of underground hip hop.
Into this fray, stepped Tanya Morgan, in the mid-2000′s. Initially an internet-facilitated partnership between Cincinnati, OH emcees Donwill and Ilyas and Brooklyn, NY producer/emcee Von Pea, TM generated a loyal following by smartly using the internet even as social networking and online promotional tactics were still in development. They made a name for themselves as fun, lighthearted rappers for the masses, with breezy beats and a playful sense of humor that made them relatable to a lot of hip hop fans put off by the materialistic fantasy of mainstream hip hop. This album, which follows up their Moonlighting LP on Loud Minority, now Interdependent, does not change that formula much, but it does refine it. The beats overall sound higher quality and better mixed, and the rappers have continued to develop their craft.
On the mic, there is nothing powerful about this trio. They all have relatively thin voices that are more Q-Tip than Busta Rhymes. As…Donwill…Ilyas…one of them alludes to, they are very hard to tell apart on the mic which can be a detriment, but it also speaks to a common high level of skill and a common purpose. Topically, they are fairly diverse. Their style is very calibrated toward keeping it real by their own definition, though, and they explore life through the lens of a late 20- or early 30-something working class man. A lot of the most expressive material is about rapping and the lifestyle it has created for them. On “Plan B”: Got a degree, got grown, got a home, got a deck/Got mad fulfillin’ work I ain’t go to school for…Saved up enough to give it a shot, make it or not/hit the job with 2 weeks notice and then I bounced. Unlike the reflective tone of this track, “Don’t U Holla” releases up pent up anger at shifty promoters that every rap group has to put up with on the way to the top. Other tracks are more about life in general, and mostly warm and endearing. “Never Enough” is probably the best of these tracks, playing with the idea of love. Then, there’s those inevitable boasting tracks, two standouts being the posse cut “Never 2ndary” and the off-the-cuff “All Eye Need”: Ayo hold up, just chill, don’t rush me man/While I grope the groupies and touch my fans. The beats match the light, fun nature of the rhymes
Beats on this album are, in general, fluid and jazzy, supplied largely by Von Pea (as The Beatmaker) and Brick Beats. The texture of the beats is very uniform, and while individually, most are good, they can run together and become monotonous as the album goes on. The few stylistic departures, like Aeon’s pensive “She’s Gone” are a welcome rest. The beats are decent, but I would not call them the standout feature of the album.
The final element that I wish to examine is the entertainment value of the album. As anyone who has listened to an overly earnest emcee’s snoozefest of an album can tell you, “regular guy” rap can go awry easily. Rappers can get so caught up in talking about being broke and making a point of being respectful of women that they lose sight of the fact that hip hop must be pleasurable to listen to, or it becomes work as opposed to entertainment. The fact that he is such a genius at entertaining is why Little Brother’s Phonte continues to set the standard for the genre he co-created. Thankfully, Tanya Morgan understands this, and keeps things fun and funny to listen to, on the mic as well as with the album’s skits. The concept of tying together an album with radio station break skits is not an original one, but they execute it well. Stories of an aging one-hit-wonder group performing their hit 15 times in a row, and a thrown-together benefit event for the failing local record store are pretty entertaining and add some replay value. There are also misses though, too, moments where they seem to be reaching for a funny idea and simply miss the mark. They’re not Phonte, but then, no one else is.
Overall, this is a good album. These guys are skilled, and just as important, genuinely likeable on the mic. They have a great ability to cast themselves as the underdogs everyone can pull for. It is not a perfect album, with some lack of variety and failed attempts at humor, but the good more than makes up for the bad. I definitely recommend you book a trip to Brooklynati.
Tanya Morgan | Plan B
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Tanya Morgan | Alleye Need
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say what?