Black Eyed Peas – MASTERS OF THE SUN VOL. 1 (Album Review)

For many fans, the Black Eyed Peas may seem incomplete without Fergie, but MASTERS OF THE SUN VOL. 1 proved that the trio of will.i.am, all.de.ap, and Taboo is still as relevant as ever. Truth be told, the styling the trio has aimed for returns us to old-school Black Eyed Peas; albeit with a more sophisticated musical style. If you’re expecting the pop-styled dance music that has been their cornerstone since Elephunk, however, you’re likely to be disappointed.

MASTERS OF THE SUN VOL. 1 sees the trio focus on political issues that pertain to gun violence, police brutality, race relations, and social media ramifications. While I don’t generally enjoy music for its lyrical meaning, preferring to enjoy the human vocal as another instrumental element in the mix, some songs are so important that they warrant closer lyrical interpretation. That aspect alone is a superpower of the Black Eyed Peas for you can jive with the music, oblivious to meaning, or thoroughly engross yourself in the music and lyrical messaging; the choice is yours. Either way, there’s no wrong way to listen to MASTERS OF THE SUN VOL. 1.

MASTERS OF THE SUN VOL. 1 is an album experience first and foremost, but it is missing a few songs that were released as promotional singles. Street Livin’ is a brilliant song and one that commands empathy within the listener. Get It is a great little tune but is different enough from the other songs featured on MASTERS OF THE SUN VOL. 1 that it simply wouldn’t have been a good fit, unlike Street Livin’, had it been included on the album. 

What is a good fit, however, is the album artwork. While the appreciation of art is as subjective as music is, the Black Eyed Peas never disappoint with their chosen cover art designs. Similarly, the Lossless Apple Music stream is simply stunning and has been mastered perfectly for the Black Eyed Peas’ style. There are no glaring aspects that will detract from the experience for the mix and soundstage are perfectly presented, ensuring that no aspect is concealed. Even with heavier bass-driven tracks, you won’t find muddiness creeping into the music, unless you add EQ’d bass, as the album thumps just as the best Hip-Hop/Rap albums do. It really is quite spectacular to listen to for not all music is made, in the modern era, with such perfection. 

BACK 2 HIPHOP (feat. Nas) is a fantastic start to the album. The song emphasises the return to their authentic hip-hop roots and explores the theme of rekindling the essence of the genre. Like all good opening songs, it sets the tone of the album from the outset. Yes, this isn’t a song that you’ll likely rap along to, but I dare you to sit still while listening to BACK 2 HIPHOP as it’s impossible to not connect with the rhythm.

YES or NO flows seamlessly from BACK 2 HIPHOP and while I don’t go for lyrical interpretation or meaning, as I’ve suggested earlier, YES or NO is vocally brilliant. A great song, yes, although the sampling is a little pedestrian despite being perfectly suited to the song. Additionally, the short vocal calculation rhythm at the end is brilliant. 

GET READY is one of the greatest songs on MASTERS OF THE SUN VOL. 1. I’d also class it as one of the greatest songs that the Black Eyed Peas has ever recorded and the inclusion of Lauren Evans pulls the song together. Yes, I love The Jacksons’ sample from Destiny of That’s What You Get (For Being Polite). Plus, the jazzy Joe Henderson Black Narcissus sample is also a superb addition and further ensures that GET READY is an absolute masterpiece.

4EVER (feat. Esthero) is smooth and melodic, but the introduction is a little underwhelming. While I’ve suggested how strong the mix is, and I stand by that assessment, I find that some of the instrumental elements and vocals, on this song, are too distant in the soundstage. It’s clearly intended to be that way, meaning that I don’t consider it a fault, but it’s an interesting choice nonetheless. 4EVER isn’t fundamentally bad, but it isn’t a tune that you’ll be seeking out on its own, most likely due to the chosen composition. 

CONSTANT Pt.1 Pt.2 (feat. Slick Rick) is a great track with a fluid transition from 4EVER. Given it’s a two-part song, I can’t help but wonder if 4EVER couldn’t have been shortened and merged into CONSTANT Pt.1 Pt.2 because it would work well sonically. Nevertheless, CONSTANT Pt.1 Pt.2 is a fantastic tune.

DOPENESS (feat. CL) has a killer rhythm that combines hip-hop and pop elements, with a catchy chorus, that ensures your body keeps moving involuntarily. 

ALL AROUND THE WORLD (feat. Phife Dawg, Ali Shaheed Muhammad & Posdnuos) continues the masterful flow of the album and while ALL AROUND THE WORLD may not be a standout tune, it again validates the importance of the album experience for the Black Eyed Peas have done far more than just slap together a series of random songs and call it an album. 

NEW WAVE is magnificent. I suggest you turn the volume up and become immersed in the soundstage. 

VIBRATIONS Pt.1 Pt.2 has a great vibe. 

WINGS (feat. Nicole Scherzinger) is a flawless song and Scherzinger’s vocal is a perfect addition to the tune. 

RING THE ALARM Pt.1 Pt.2 Pt.3 is, jazzy, hypnotic, and nothing short of perfection.

BIG LOVE has a pertinent message that needs to be heard by all. While not as important as the focus on the messages of unity, love, and the impact of gun violence, BIG LOVE is a perfect closing tune that compels you to listen to the album again. Given its topical subject, it’s also one of those songs that will reside in your mind, thereby allowing you to reflect on the song’s message long after you’ve heard it. 

MASTERS OF THE SUN VOL. 1 wasn’t just a return to form, it is one of the most compelling and socially conscious albums the Black Eyed Peas have ever released. Pivoting back to their hip-hop roots, while addressing pressing social issues, was a masterful use of their platform and is a testament to their musical versatility. If you're a fan of Hip-Hop and appreciate socially aware themes, this album is worth a listen. Even if lyrical interpretation isn’t your thing, and you just want a killer Hip-Hop/Rap release, MASTERS OF THE SUN VOL. 1 won’t disappoint as it’s a musical marvel.  

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The Roots – …And Then You Shoot Your Cousin (Album Review On Vinyl & Apple Music)

Hip hop, arguably, remains somewhat of a mystery to me. I have my favourite albums and know what sounds subjectively good but until …And Then You Shoot Your Cousin was released in 2014, I had never heard of The Roots. They simply weren’t on my radar but I kept seeing the vinyl release of …And Then You Shoot Your Cousin and became captivated by the mixed media collage was created by Romare Bearden in 1964 and adopted for the cover and overall style of the album artwork. In years gone by, I would have likely picked up the album based on the cover art alone, but streaming services have allowed record collectors to sample music, before purchase, ensuring that we don’t pick up albums that we’ll never really play thereby proving that analog and digital formats can happily coexist. 

While this review will champion the vinyl release, for it is an exceptional piece of art, both in the traditional and audible sense, the lossless Apple Music stream isn’t as dynamically charged as the vinyl counterpart but that isn’t a dig at the streamed version, it’s more a tip of the hat to the vinyl mastering and pressing that is nothing short of exceptional and is amongst some of the best sounding records in my collection.

Putting the record on the turntable is an immersive experience that I consider to be synonymous with hip hop as the music will not only radiate through your body but will also touch your soul. Yes, the digital stream gets you close, and if you have no interest in vinyl you won’t be disappointed in the sonic quality, but the vinyl tonality takes the album to a whole nother level while maintaining a record that is so quiet you’ll be hard-pressed to hear any surface noise, even in the dead wax. 

Disappointingly, however, Theme From The Middle Of The Night, The Devil, and Dies Irae are omitted from the Apple Music stream; in Australia. A frustrating element considering these songs are available if you purchase the lossy album on iTunes; they’re the dreaded album only tracks. This streaming omission is a shame considering …And Then You Shoot Your Cousin is a concept album satirising American culture. That said, the vinyl counterpart continues this story-arc through the exquisite vinyl artwork.

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Starting with Bearden’s stunning collage, the art production team masterfully merged new creative elements so well that the artwork becomes the visual equivalent of sampling; a foundational element of the hip hop genre. It tells a story and on several occasions, I’ve been more captivated by the continuity of the visual tale than the music itself; a sign, in my opinion, that the vinyl artwork remains a value-added proposition to music lovers. 

Unlike the vinyl release, the Apple Music stream doesn’t consecutively number songs; a shame considering this is a trademark of The Roots.

SIDE A

Theme From The Middle Of The Night is a magical introduction courtesy of the incomparable Nina Simone. As a fan of Miss Simone, I love this introduction despite it being somewhat truncated. If you’re interested, the original can be heard on The Amazing Nina Simone.  

Never (Feat. Patty Crash) is an enveloping, eerie, sonic wonderland that is simply stunning. Add to that the unique feminine lyrical element and the masculine rap lyric throughout and you’ve got a song that on paper shouldn’t work but the culmination is extremely compelling.  

When The People Cheer (Feat. Modesty Lycan & Greg Porn) is head-bopping gold; one of the best tunes on the album.

The Devil is a short interlude-styled song, sampled from the Mary Lou Williams original, but is pure genius and works extremely well on …And Then You Shoot Your Cousin. 

Black Rock (Feat. Dice Raw) is a composition that grows on you the more you listen to it. Yes, initially, it may seem a little disjointed, but once you connect with a specific rhythm, you’ll be hooked. As a song on its own, however, it isn’t memorable but when listening to it via the album sequencing, it’s perfect. 

Understand (Feat. Dice Raw & Greg Porn) simply explodes on vinyl and while the Apple Music stream isn’t lacking in oomph, low-frequency music lovers will most certainly want to hear the sound vibing from the grooves. If you like to enjoy your music visually, you need to check out the music video for no other reason than to witness the greatest organ ever, in a music video. 

Dies Irae is one of the most annoying tracks ever recorded. Thankfully it’s short, but even after enjoying the album countless times, I still find myself being distracted by this instrumental, if you could call it that, as it is simply a shrill mess. 

SIDE B

Thankfully, The Coming (Feat. Mercedes Martinez) makes up for the harshness of the Side A closer. The mix on The Coming is simply amazing. It’s subtle but the panning of the vocal, especially when listening via headphones, is one of those sonic experiences that needs to be heard firsthand. It’s a shame, however, that the musical interlude in the second half of the song detracts from the masterful first half.  

The Dark (Trinity) [Feat. Dice Raw & Greg Porn] flows beautifully from The Coming and has a slow rhythm, and an utterly perfect lyrical delivery, that simply resonates with my soul. The best song on the album? Perhaps, but The Unraveling is next. 

The Unraveling (Feat. Raheem DeVaughn) is sonically amazing; especially on vinyl as the warmth (think distortion) of the format adds significantly to the overall experience. The pause around the three-quarter mark, while stylistically cool, isn’t a necessary element in my opinion and does momentarily take you out of the rhythm but thankfully it doesn’t last and The Unraveling closes out masterfully.

Tomorrow (Feat. Raheem DeVaughn) closes the album on a lighter tone than much of …And Then You Shoot Your Cousin, but its melody ensures that I’m captivated enough to spin this masterpiece one more time. 

…And Then You Shoot Your Cousin is a phenomenal release and while it’s on the short side at only 33 minutes, sometimes that is all you need as a longer runtime would be superfluous to the creative vision.

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DMX – …And Then There Was X (Album Review)

Timeless is one word to describe DMX’s …And Then There Was X. Having sold over 5 million copies since its release in 1999, few Hip Hop fans would disagree as there isn’t a bad song to be heard on this Grammy-nominated album; well, the skits do alter the flow of the album and while some are hilariously done, I’ve always felt they detract more than they enhance a body of work.

Listening to …And Then There Was X via Apple Music and TIDAL Hi-Fi, the latter is preferred, but only slightly, as you get a greater sense of presence from the CD-quality stream. I don’t want to overstate it as it is a minor difference and those of you using Apple Music will enjoy that edition, but as I intend to find the very best editions of the albums I love, in this case, the TIDAL Hi-Fi stream reigns supreme. While I don’t have a physical copy of this landmark release, a vinyl reissue was released in 2016 that, at the very least, would be interesting to pick up as I’ve always adored Hip Hop via vinyl as the styling is perfectly suited to getting the most out of the format; provided it is mastered correctly of course. 

The Kennel (Skit) isn’t the worst opening to an album I’ve ever heard but thankfully it flows well into One More Road To Cross. 

One More Road To Cross is where …And Then There Was X really begins for me. It has a killer rhythm and the lyrical component is perfectly paced. Yes, dear reader, I don’t generally appreciate music for its literal interpretation and therefore I class the vocal as an instrument rather than a storytelling device. I know that may be counterintuitive when listening to Hip Hop as it is a genre that is very story-driven, but that just isn’t how I enjoy music.

The Professional shifts the tempo a little, but The Professional is magnificently smooth. It’s toe-tapping and head-bopping gold!

Fame is a great tune, worthy of pumping the volume for.  

A Lot To Learn (Skit) isn’t a bad skit but as I mentioned earlier, I feel they interrupt the flow of the album even if they do blend well into the corresponding track.

Here We Go Again is interesting. I have a love/hate opinion of Here We Go Again and it changes depending on my mood. Sometimes I get into the groove and thoroughly enjoy the song, yet at other times I feel the hook is a little disjointed and campy. 

Party Up is a killer tune. However, while it is likely the most well-known song from …And Then There Was X, I feel it has started to sound a little dated and I, therefore, wouldn’t class it as one of the best songs on the album but as a single it’s gold.

Make A Move has an incredible musical element that is simply hypnotic. I love it!

What These Bitches Want is Hip Hop 101. A killer rhythm, an addictive hook, and an explicit lyrical delivery; sometimes that is all you need! 

What’s My Name works well within the album context, but this isn’t a song you’d seek out on its own or add to a playlist. 

More 2 A Song has an off-beat presentation that shouldn’t work, but it does. 

Don’t You Ever is a great tune. Repetitive, yes, but thoroughly entertaining! 

The Shakedown (Skit) is the worst skit on the album. Thankfully I don’t class skits as songs and therefore my aforementioned statement that there isn’t a bad song to be heard on …And Then There Was X remains true. 

D-X-L (Hard White) is a great tune with an almost Rocky-inspired backing sample.  

Comin’ For Ya is brilliant!

Prayer III needs no commentary for all you need to do is listen. 

Angel (Featuring Regina Bell) is the best song on the album. Regina Bell has a divine voice and this is one song that I could listen to on repeat indefinitely as I never tire of it. 

Good Girls, Bad Guys is a solid closer but I may have concluded the album with Angel instead.

…And Then There Was X is a true masterpiece and one that I find so compelling that when I choose to listen to it, you can guarantee it will be playing on repeat for the rest of the day. 

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A-F-R-O & Marco Polo – A-F-R-O Polo (Album Review)

The world of Hip Hop is in a constant state of flux and there is little doubt that it is one genre of music that is constantly evolving, building upon itself, as up and coming artist push beyond the status quo. 

A-F-R-O is one such revolutionary artist, having paired with fellow Hip Hop producer, Marko Polo for this debut release A-F-R-O Polo. If you’ve ever enjoyed Hip Hop/Rap music, you’re going to love this release. 

I do however wish to advise that the Explicit tag is here for a reason, especially when it comes to the song Sunshine And Flowers. For those of you that would prefer a ‘clean’ edition of the album, there, unfortunately, isn’t one available. However, and in a stroke of genius, there’s an Instrumentals album that gets you 95% of the way there without the editing blips or spaces that generally ruin the songs. When my kids are around, I can listen to the Instrumentals release and thoroughly enjoy and then when listening privately, I can appreciate the lyrical component even though I generally don’t look for literal lyrical interpretation, instead preferring to consider vocals to be akin to another instrument.  

It is important to note that while I have referenced the Instrumentals release, if you’re interested in picking up A-F-R-O Polo physically, the Instrumentals release is digital only, being available on iTunes and Apple Music. 

While available on both Vinyl and CD, it is a little disappointing that the vinyl cover art is different from the cat-head cover of the CD/Digital releases. It’s a shame as it would have looked incredible on the larger canvas and I can only hope that one day a future pressing of the vinyl release will be done with the core album cover.

Some of you may be wondering if A-F-R-O Polo can really be classed as an album, rather than an EP. Well, it is right on the edge with a runtime of 25 minutes, but it does have eight tracks so I consider it to be an album. To be completely honest, I love shorter albums. Long gone are the double albums from the 90s; thank god! Seriously, how many were truly great? 

From a sonic perspective, A-F-R-O Polo is magnificent with a soundstage that grows as you increase the volume and doesn’t distort. The separation between elements is also superb and the complete opposite to the disposable pop music in the modern era where there is little to no separation and depth in the soundstage, instead aiming for a wall of sound. A-F-R-O Polo is incredibly dynamic and while I love the music, I’d listen to this album just merely for the mix which I consider is beyond reproach on all but one song. 

Long Time Coming (feat. Shylow) is brilliant! What an incredible opening for a Hip Hop/Rap album. The lyrical delivery shoots fast and hard, while simultaneously ensuring the sampling and mix is the definition of pure perfection. I don’t know about you, dear reader, but I can’t stop moving to this song. I love it!

Nightmare On Fro Street flows on beautifully and while rhythmically different, doesn’t sound out-of-place with the overall musical style of A-F-R-O Polo. I would, however, and this is a very personal perspective, prefer a more rhythmic approach to the vocal delivery as the spoken word, while a trademark of this style of music, feels a little too separated from the sampling and overall musical mix. That said, I’m sure there are many of you who would love it and consider it to be perfect. I certainly don’t dislike it, I’d just like a slightly different vocal presentation. 

Swarm (feat. Pharoahe Monch) has a great beat and overall rhythm. Sometimes that is all you need! 

Sunshine And Flowers is one of the best songs on the album, if not the best. That rhythm, beat, and lyrical delivery is off-the-charts good; a perfect mix! Yes, the lyrics are controversial and will absolutely offend some people but, while I can’t confirm this, I don’t believe the lyrics are meant to be taken seriously. Sunshine And Flowers very much reminds me of the exaggerated style of the comedic glam metal band, Steel Panther. Nevertheless, if the lyrics bother you, remember there is always the Instrumentals edition to enjoy.  

Fro Armstrong continues perfectly from Sunshine And Flowers and has some great sampling and an incredible mix. A great tune!

Use These Blues (feat. Eamon) slows things down a little but is utterly brilliant. Although, is it just me or has the faux record surface noise been overdone at this stage? Either way, it’s a beautiful song with a soundstage that is full but not compressed thereby allowing every element the space it needs to breathe. 

Lair Of The Black Worm is in similar styling to Nightmare On Fro Street, but I find the vocal presentation on Lair Of The Black Worm is much better suited and positioned to the overall musicality. It may not be the strongest song on this release, but I thoroughly enjoy it when listening to the album.

Joe Jackson has a perfect mid-tempo rhythm that will hypnotise you and Joe Jackson is one song that I wish would never end for I’d love the musicality to be repeated indefinitely. What I find is when I decide not to listen to the album again, that Joe Jackson continues on as a welcome earworm that thereby encourages me to return to A-F-R-O Polo and listen once again to what can only be considered a brilliant addition to my continuously growing library of Hip Hop/Rap music. 

Overall, A-F-R-O Polo was one of the greatest Hip Hop/Rap releases of 2016, and in recent history is only bested by Kanye West’s incredible ye. Yes, it is that good, and I can’t wait for more new albums to emerge. 

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