WORLD PREMIERE: DJ Jimmy Jatt ft Ruggedman, Eedris Abdulkareem, Mi and Waje – I am legend + E to beh ft Banky W and Phyno

DJ Jimmy Jatt drops best collaborative album from Africa. We present you “I Am Legend featuring Ruggedman, Eedris Abdulkareem M.I & Waje” and “E to Beh featuring Banky W & Phyno” as our album sneek peak. Enjoy & Go cop the album

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Drake, ‘Nothing Was the Same’ album review + Free Download Link

Drake, ‘Nothing Was the Same’ album review:”Nothing Was The Same” finds Drake showcasing new skills–trimming the unnecessary songs, and focusing on narrative details.

Sadness has been a booming business for Drake Between his breakout mixtape So Far Gone and his Grammy-winning album Take Care, the Toronto native’s innate ability to embrace his emotive side—and pen catchy, quotable pop raps—have earned him critical acclaim, millions of records sold, and a spot
among Rap’s elite in a relatively short amount of time. After a steady buildup through 2013, Drake returns with Nothing Was The Same, a record that tempers his usual dysphoria with some appreciation for where it’s taken him.

Drake continues attempts to balance pre-fame
normalcy with the perks from his hard work, but on Nothing Was The Same, he finds more closure while revisiting deteriorated relationships. Personal pitfalls and braggadocio are only bars away from each other, with equal candor and without as much bottom-dwelling. “Tuscan Leather” takes a four-bar break from six minutes of boasts to note a fallout with YMCMB cohort Nicki Minaj, and “Furthest Thing” apologizes for the negligence of an ex before concluding with an exultant, soul-sample production by Jake One. Elsewhere, Drake points out how his loved ones’ transgressions can be just as harmful as his. “Connect” narrates his submission to a toxic relationship. Some of the finest moments on Nothing Was The Same come when he puts more focus into story-telling or sharing his perspective instead of placing the blame on one person or another. “Too Much” sadly recounts relatives distancing themselves from him and worries about them lowering expectations for their own lives. On “From Time,” he questions a lack of substantial relationships while sipping brews and rolling up with his father, pondering words of wisdom from his mother, and sharing memories with an ex, who is portrayed by an empathic Jhene Aiko.

With less guilt tripping, Drake dedicates time to enjoying the perks of his success without as heavy of a heart. “Started From The Bottom” and “Worst Behaviour” use anthem choruses and punchline-laden verses to revel in victories despite humble beginnings and naysayers, while “The Language” reuses the precise staccato flow from Drizzy’s verse on Migos’ “Versace” to stunt on competition. “305 To My City” admires the hustle of a stripper, while “Wu Tang Forever” shows a pair of BDSM relationships Drake has with a woman and with the music industry. Album closer “Pound Cake/Paris Morton Music 2” sees Drake trading stunt raps with Jay Z before a final verse that enjoys his accomplishments and accepts the terms that come with it.

For an artist with the most number one songs on the Billboard Rap/R&B charts, Nothing Was The Same is notably lacking such obvious hits. Early leaks of “Started From The Bottom” and the bonus track “All Me” took from their momentum, especially without much back up support. But there’s also less fat in general: throughout the album’s lean, cohesive set of
13 tracks, Drake packs multiple emotions into
individual songs instead of adding on extra items. This approach would’ve made Take Care an even stronger effort. Also, 40’s subdued, murky sound beds that dictated the direction of Take Care aren’t as dominant; songs like “From Time” satisfy that itch, but cleaner, more buoyant productions like “Tuscan Leather,” “Worst Behaviour,” and the R&B and house-infused “Hold On I’m Going Home” have an equal say. The primary flaws on Nothing Was The Same are in individual corny lines: “Your mama used to live in the church on Sunday / You just go to LIV after church on Sunday / Oh Lord, we’re not in Kansas anymore,” he coos on “305 To My City.” And on “Connect,” he says the cringe-worthy line, “I remember my schedule was a flexible as she is.” Expanding his subject matter next time around would be a smart move, before it gets stale. But Nothing Was The Same showcases new skill trimming the unnecessary songs, and focusing on narrative details the way he does on “From Time”—that will strengthen Drake’s arsenal and help him continue to cement his status as a pop-rap heavyweight for years to come.

TRACK LIST:

DOWNLOAD link —-> http://
sharebeast.com/6d39c8rmamq0

1. Tuscan Leather
2. Furthest Thing
3. Started From The Bottom
4. Wu-Tang Forever
5. Own It
6. Worst Behavior
7. From Time
8. Hold On, We’re Going Home
9. Connect
10. The Language
11. 305 To My City (f/ Detail)
12. Too Much
13. Pound Cake (f/ Jay Z)
14. Come Thru
15. All Me (f/ Big Sean & 2 Chainz)

Posted by SlausonBoi 2uti….Contact: [BBM: 215BE049], [Twitter: @Slausonboi_2uti], [Mobile: +2348
065608879], [Facebook: Slausonboi Tewti]

Drake Hoping To Never Release “A Straight Rap Album”

For fans of Canadian singer/rapper Drake, the Young Money artist expressed his openness to those who plan on being fans of his music for their entire life, but only if they’re open to the rapper’s many musical sides. As an artist who can be found both crooning and dropping bars on his projects, the Take Care creator doesn’t plan on changing that particular aspect of his artistry anytime soon.

While speaking with MTV News, Drake revealed that he’ll never release “a straight rap album” since he didn’t come into music solely as a Hip Hop artist. He also expressed his desire to become a modern-day Marvin Gaye.

“If you wanna listen to Drake music for the rest of your life I welcome it. I want you to listen to it. I want you to be a part of it, but just don’t ever be surprised like when I’m singing or using melody. I’m doing that on this album. This album is not some straight rap album. I’ll never do a straight rap album,” Drake revealed. “That’s not how I came into this. And that’s never what I’ll do. I make songs for people. I have aspirations to be Marvin Gaye in the back of my head. So, I just want to sing the world’s triumphs and problems on one record. And hopefully, Nothing Was The Same is like the soundtrack to their life.”

With close to two years between the release of Drake’s Take Care and the September 24 release of his upcoming album, Nothing Was The Same, the Young Money wordsmith says in that time he’s learned to make music that’s both “more concise” and “more clear.”

“I think the music that I’m making is more concise, more clear. I’ve been able to get my thoughts across a lot better on this album. Take Care is a great album, but I listen to it and realize where I could do better and I think I’ve done better on this album,” said Drake.

Set for release later this month, Nothing Was The Same will serve as Drake’s third studio album. The project will boast appearances from Jay Z, Lil Wayne, and Jhene Aiko

Posted by SlausonBoi 2uti….Contact: [BBM: 215BE049], [Twitter: @Slausonboi_2uti], [Mobile: +2348
065608879], [Facebook: Slausonboi Tewti]

Lil wayne – A little review of Dedication 5(mixtape)Lil Wayne – Dedication 5 (Mixtape Review) DX Consensus: “EP-Worthy”

Lil Wayne – Dedication 5 (Mixtape Review) DX Consensus: “EP-Worthy”

In the “How Dedicated” intro to Dedication 5, Lil Wayne said that the Dedication mixtape series has meant the same thing that it always has, but many of the Rap legend’s devotees would disagree. In the first two DJ Drama-helmed projects from 2005 and 2006, a hungry Weezy revolutionized the mixtape game and took his strongest strides into superstardom before beginning his reign as the biggest rapper in the world. But the last two installments exemplify fans’ problem with Wayne since then: an assumed complacency with his fame.

Less than two weeks before D5’s release, Wayne tweeted an apology to his fans for not being nominated for any Video Music Awards or BET Awards, with a promise to work harder “if it kills (him).” On the fifth volume of The Dedication, Wayne shows the competitiveness that fueled his ascension, and the bad habits that took him down a few notches.

On glimpses throughout the tape, Wayne revisits what made the original Dedication series so effective: album quality original songs and creative reinventions of radio hits, showcasing his jazz-tinged delivery and wit. The highlights here easily outdo Dedication 3 and Dedication 4. He lends a variety of flows to Kendrick Lamar’s “Bitch Don’t Kill My Vibe” on “Don’t Kill,” and he fearlessly attacks Wu-Tang Clan’s “C.R.E.A.M.” to deliver one of his most enjoyable performances of the past few years. Thankfully, the visibility of a Lil Wayne Dedication mixtape is still valuable, so most of the cameos on D5 are done with that in mind. Chicago youngster Chance The Rapper contributes his unique vocals to “You Song,” Vado bodies Meek Mill’s “Levels,” and “America’s Most Wanted” tour mate T.I. delivers a trio of strong 16s to the tape. New Young Money signee Euro also shows promise on several songs.

Still, much of Dedication 5 detracts from the series’ legacy. With a 29-song track list—which may also be a factor in Wayne’s renewed hunger—some of that negative ratio is a matter of volume. On “Started” and “New Slaves,” Wayne is mimicking the original songs’ flows more than tackling them in a new way. Weak lines like, “had a phone in jail, that’s a cell phone” and “I’ll have people looking for you, like a reason” show Wayne’s regression. The highlights are enjoyable, but too many songs fade into the background, making it a chore to find D5’s gems.

Outside of Wayne’s rhymes, Dedication 5 also falls out of line with the Dedication series for other reasons. Many of the industry beats Wayne tackles aren’t the actual beats, but redone versions of them. The approach was likely done to avoid clearance issues, but it makes the tape feel a bit incomplete compared to its predecessors. Plus, despite DJ Drama’s name on the cover, his adlibs and narration are notably minimized. Some fans will enjoy the smaller amount of DJ hosting, but a long-winded project like this could use Drama’s energy—especially considering the legacy of the Dedication series.

To Wayne’s credit, Dedication 5 is the best the series has showcased since its legendary sequel from seven years ago, even if it pales in comparison. Occasionally, the YMCMB head honcho shows that he still has a portion of the skills that earned him his spot among rap’s elite. If he can find recapture the consistency from that same era, he won’t have to apologize to his fans for much longer.

Posted by SlausonBoi 2uti….Contact: [BBM: 215BE049], [Twitter: @Slausonboi_2uti], [Mobile: +2348
065608879], [Facebook: Slausonboi Tewti]

WALE: “THE GIFTED” ALBUM REVIEW

I am sorry this is coming Late, I just felt I badly needed to do a Review of Wale’s Latest project. Originally, June 25th was scheduled to be the major release date in June. With Wale, J. Cole, Mac Miller and Fabolous all scheduled to drop products in retail on that day, Hip Hop fans felt they had a lot to look forward to. However, when a popular Chicago rapper/producer decided to drop his project on June 18, lots of things changed. Fab pushed his album back, and J. Cole pushed his album forward, meaning the huge multi-release date in June would arrive one week earlier. Wale stuck to his date, insisting his fans knew the date, and would show up to their favorite physical or online retailer for The Gifted. Those who were patient enough to wait for the release will be rewarded, as The Gifted—while not perfect—is a solid overall project. “New Black Soul” has been Wale’s mantra in the lead up to the release of The Gifted, and overall, the project definitely has a soulful sound. Wale says that each of the tracks off The Gifted are inspired by his own inspirations, and the leadoff single, “LoveHate Thing” featuring Roc Nation crooner Sam Dew, features a Marvin Gaye sample to fit the “New Black Soul” vibe of the album. While the album definitely leans towards a Soul sound, long-time Wale fans will be happy to hear the DC emcee’s Go-Go influence also presents itself. “Clappers” featuring Juicy J, and what seems to be an extremely short and underwhelming Nicki Minaj feature, samples EU’s “Da Butt.” The track has a high energy club vibe to it, and serves as a decent intermission to the seriousness found on the majority of the album.

Those looking for substance in Hip Hop need look no further than tracks like “Gullible” or “Golden Salvation (Jesus Piece).”While the subject of Jesus pieces has definitely been covered excessively in Hip Hop as of late, Wale’s lyrics separate his effort from the other recently released, similar tracks. Wale raps, “Don’t bow your head for grace, though I’m keeping you graceful / Brothers was born to cheat, though question who faithful / Fast for me, nope, Blasphemy though / Rap to it, so racks up, to match up with me froze / How can a diamond supersede my wisdom? / I seen a reverend with five of me as he read his scripture…” He comes back in the second verse with “Sierra Leone Diamonds, LA to New York got ‘em / If nobody’s stores got me, some probably wouldn’t know. about me / All over paparazzi, shout out to Murakami / See they commercialize me, I’m sure there’ll be more robberies…”

The highlight of The Gifted would have to either be the tracks Wale chooses to officially close the album out with, “Black Heroes”, or “88.”But herein lies a problem with Wale that he hasn’t seem to fix throughout his career. “Black Heroes” has a powerful vibe to it, with lines that will definitely persuade you to run the track back a couple times. The same can be said for “88”,however, those who aren’t as up on sports, or sneaker culture for that matter, may find themselves lost on “88” or simply pretending to understand. Essentially, “88” could be one of the best offerings off the album to some, and to others, a decent song with a strong Just Blaze instrumental.

Overall, The Gifted is a good album. Wale presents substance without being overly preachy, and still takes it back to the Go-Go for those who have been following him since Paint A Picture. While not without its flaws (the “Bad” remix was unnecessary, and probably done simply for the big name feature), those questioning the direction Wale was going post MMG affiliation will more than likely be pleased with The Gifted.

—–SlausonBoi 2uti Rates Album 7/10
Download link coming soon. Watch this page

Jay-Z’s ‘Magna Carta Holy Grail’: Album Review + DownLoad link

When Jay-Z first mentioned Pablo Picasso, he was setting high standards for fellow lyricists. “You draw? Better be Picasso,” he rapped in “Friend or Foe,” off his 1996 debut Reasonable Doubt. Since then, Jay-Z’s standards have changed. In his new album Magna Carta Holy Grail (out for retail release on July 9), the Forbes cover star treats the Cubist painter like a brand name. “I just want a Picasso, in my casa / no, my castle,” he raps in, yes, “Picasso Baby.”

Jay-Z let this exact lyric slip into the album’s first
trailer, where he announced his landmark deal with Samsung and sat among producers who
helped build Jay-Z, The Brand: Pharrell, Timbaland, Swizz Beatz. As he had emphasised to Rick Rubin, MAGNA CARTA tries to show how a Picasso isn’t enough, not if Hov wants to be happy. Instead, while it delivers confident hits, the album as a whole feels unsubstantial — especially for the author of Decoded.

On Magna Carta, Jay-Z compares his castle walls
to art museums, but tends to concern himself
with everyone else. He sounds most satisfied
when he bullies everyone else on radio right now, like the molly-littered rap landscape in the springy “TOM FORD” and MILEY CYRUS in the tooting seventh track “SomewhereInAmerica(“Twerk, Miley, twerk,” he wryly instructs, adding, “Only in America.”) The longer he busies himself with everyone else, though, the more he resorts to obnoxious, if not clunky, taunting — like in “La Familia”: “Tell these n—-s to pull they skirts down, I can see their ovaries.”

Lyrics like these tend to overshadow Jay-Z’s humbled moments, such as when he recites Nirvana and R.E.M. lyrics to question the payoffs of fame, religion and his own record-setting career. Hov also draws deft lyrical connections from slave ships to yachts ( “Oceans,” assisted by FRANK OCEAN) and street corner to corner office (“F.U.T.W.”), but he can’t let these songs breathe on Magna Carta. He’s more obsessed with receiving his due — “You take the clothes off my back, and I let you,” Justin Timberlake belts in opener “Holy Grail” — and this lyrical fixation, the telling without showing, turns Magna Carta into a drag.

As Decoded shows — and as Jay-Z seemed to say when he released lyrics to MAGNA CARTA prior to the album’s release — reading along to Hov’s words can help reveal hidden meanings that can slip by during his matter-of-fact performances. Some will say some tracks are disappointing because they don’t require closer listens or rewinds, especially given the unprecedented nature of its release. In his attempts to spell out everything (see “I had luggage, meaning I had baggage,” in “Heaven,” for instance) he fails to meet the standards he set long ago: “You draw? Better be Picasso.”

—-SlausonBoi scores album 8.5/10

SlausonBoi 2uti is JAY Z’s Biggest Fan and so I’ve decided to provide my readers a Free link to the Full album though the official release date is on the 9th of July.

Download JAY Z’s MAGNA CARTA HOLY GRAIL ALBUM via this link http://t.co/GtuWHN9oYq and rate it. If you are unable to click on the download link, copy and paste on browser