Late Shift Cypher #5 - Toronto-themed verses over "Still D.R.E." by Dr. Dre

I'm the second emcee spitting in this one...

ALL MUSIC NOW FREE

I want to give a sincere THANK YOU to everyone who's been supporting me, rocking with me, motivating me, encouraging me, inspiring me, and listening to my words and music over the past several years. As a token of gratitude, ALL of my music is now available for FREE download, including my latest EP, "the poet":

http://mcfubb.bandcamp.com/

60 Bars (You Ain't Hip Hop) - Video + Q&A

Free track download + lyrics here: http://mcfubb.bandcamp.com/track/60-bars-you-aint-hip-hop

Written and performed by MC FÜBB.

Produced by Noyz.

Video shot and edited by Neil Austen.

Additional footage by Slick Nick.

60 Bars (You Ain't Hip Hop) is track #3 off of MC FÜBB's album, "In the Face of No Agreement" (aka ITFONA), (produced exclusively by Noyz): http://mcfubb.bandcamp.com/album/in-the-face-of-no-agreement

A little Q&A with Toronto hip hop MC/rapper MC FÜBB about his latest video, “60 Bars (You Ain’t Hip Hop)":

Q: Your music is often so positive and uplifting…why are you so angry on this track?

A: I guess that sometimes I get really pissed off with what I see and hear in the world of hip hop, specifically rap music. A lot of rappers say that they’re real and they’re dope and represent hip hop, but the second they get off stage or off the mic, it’s clear that their words and actions don’t match up. I know that I could easily get really cynical about it, or even start beefing with people…so instead I made a track about it to get it off my chest.

Q: Is this song directed at anyone specifically?

A: It’s more an expression of a generalized perspective I have on the rap scene. It’s safe to say this song is directed at a sizeable portion of rappers out there.

Q: The instrumental sounds pretty dark and intense. Did it influence your writing on “60 Bars”?

A: When I got this beat from Noyz, it felt so raw to me. I knew I was going to have to rip it. I just started writing, and I could feel a lot of my frustration coming out. I didn’t want to just come across as being Mr. Angry Rapper and say “fuck all ya’ll,” so I took my time with it and did my best to convey my feelings and observations in a thoughtful and relatable way, without compromising the rawness of the track.

Q: Why are you burning CDs and smashing laptops at the end of the video?

A: Because it’s fun! Seriously though…I get handed CDs all the time and constantly have heads asking me to check out their video or their new track. Sometimes I come across some really dope stuff. I’d say at least 80% of the time though, it’s pretty awful music. So I burned a bunch of CDs and smashed a laptop that was playing a wack song to symbolize that

Q: What is that song playing at the end of the video, right before you smash the laptop? Who is the artist?

A: This interview is OVER.

Youtube link: http://www.youtube.com/watch?v=Q5MPEBlSXOQ

Substance

The first thing I'm recording in 2012 is a verse that I'm dropping on a collaborative project that two fellow Toronto hip hop artists are working on - Fenaxiz and royceBIRTH. These are the lyrics:

It really shouldn’t be surprising

with everybody scared to look inside they focused on what they buying

accepting implicit values instead of searching and defining

when you perpetuate the status quo, what are you defying?

let me break it down

hip hop’s something real, you can embrace it

it’s gotta have some substance to it so that you can taste it

content’s consumerism so I’m taking issue

cuz when you’re laying six feet deep, you can’t take it with you                      

every time I spit I feel I’m firing off a missile

homing on your heart and I’m praying that it hits you

so you can get awakened to something that is bigger

than this brainwashed life, got my finger on the trigger                                     

targeting all types, all peoples of all colours

my message is this: I want ya’ll to stop killing each other

can’t keep it real with yourself, how you gonna keep it real with your brother

feeling lost so I turned to my mother                                                   

she said son, let ‘em be, accept ‘em for what they are

save your power for the battles ahead – you’re going far

try to let go of the past, though it’s on me like a scar

just ‘cause you got some shine don’t make you a star

now I ain’t tryna be the type to rain on your parade

but just cuz you getting plays that don’t mean you’ve got it made

from where I’m sitting, your whole stees need adjustments

what’s the point of music if it ain’t got substance?

Teaser Video for 60 Bars (You Ain't Hip Hop)

Check the teaser video the homie Neil Austen made from the video shoot I did with him and Slick Nick for 60 Bars (You Ain't Hip Hop) off of ITFONA.

Interview: MC FÜBB + The Cypher on CHRW

"I truly believe that people can transform and overcome the most difficult circumstances, and then transform the environments around them as well. And I believe that because I've done it." -MC FÜBB

I was recently interviewed by Nida Siddiqui for CHRW (University of Western Ontario radio station). You can check out my segment here:


Interview: MC FÜBB + The Cypher on CHRW by mcfubb

Album Review: The Antiheroes – this is freeDUMB

            Easily one of the most talented and fresh-sounding duos in the world of rap, The Antiheroes’ (Sha Prince and Flex) debut LP, this is freeDUMB, is both musically a great contribution to hip hop and a powerful criticism of modern society and culture. Throughout the album, the two MCs not only point out the obscenities that they perceive around them, both in regards to the hip hop scene and the world at large, but they also poignantly express their own internal dialogues and struggles they face as artists and human beings. Most importantly, Flex and Sha are lyrically able to accomplish their thematic goals without sounding corny or repetitive. Each track on this album sounds like its own distinct single and evokes different emotions in the listener, despite producer MMac producing 8 of the 17 tracks (a testament to the beat-maker’s versatility and creativity). this is freeDUMB is an album not only for those who love high quality hip hop music, but even moreso for those who love and appreciate strong lyricism that touches on deep concepts and complex issues.

            The album opens with an eloquent and heartfelt verse by Flex over a lovely synthetic organ-laden beat by MMac and sharp cuts by DJ Docta. Flex, through bar-filled flows and with an ear-pleasing, mid-high frequency arioso tone, raps about his frustrations in facing obstacles to success as an artist. What rings through loud and clear though is not cynicism in Flex’s verse, but rather a passionate commitment to succeed (and with these kinds of lyrics, it’d be a damn shame if he doesn’t): “I’m so committed to living within an image of doing whatever’s fitting/ for me to be in position to give ‘em what they were missing.” Flex also speaks on a value that both he and Sha seem to hold dear to their art when he spits: “honestly is my honesty necessary to blow?/ is selling your soul the recipe? I was hoping it’s no.” It’s clear from listening to this is freeDUMB a few times that The Antiheroes are not willing to compromise their content or dumb-down their self-expressions in order to make music that may be more commercially viable or marketable to the masses. That’s not to say that this is freeDUMB isn’t commercially viable; if anything one of the reasons the quality of their work is so strong is that these artists don’t settle for less than raw authenticity in their music. On the same title track, Sha Prince (bringing a sharp delivery, and on-point intricate flows to the table) reflects on his own self-doubts and personal life choices, which he worries may contain an opportunity cost that doesn’t add up in his favour: “life – I never rush it/ I’m rolling with my punches/ maybe I slow it too much and now I’m running lunges” and “being a rap-star isn’t in my best interest.” Undoubtedly, Sha echoes the same hunger and passion in his verse as Flex does, firing off intense and ferocious flows: “in a verse, on a record, some may say he talk reckless/ but never give a damn, since a kid my mind rebellious/ and I eat these rappers’ lunch, dinner, breakfast on a tracklist/ only spitting two years, word almost perfected.” For a rapper only spitting for two years, Sha Prince displays a lot more talent and skill than many who have been in the game for a decade.

            Jon Dubbs supplies a rock-symphonic instrumental on the second track, Become Alive, complete with guitar riffs and violin melodies on the chorus. Flex and Sha articulate their internal conflicts on this track perhaps better than any other on the album. Sha Prince in particular, never a stranger to expressing brutally honest and at times even extreme thoughts on wax, goes in on his conflicting desires for wealth and material success in contradiction to staying true to his own values and principles: “living lavish was never my goal/ ‘till my hunger rose, belly ache, winter froze/ lights dim, looking at my situation inside impatient eyes/ temptation is now my best friend/ worst enemy, lord seek the remedy/ lead me on the right path before my body doesn’t breathe.” Sha’s erratic flows on this track excellently compliment the frantic nature of the opposing thoughts being vented on this track.

Circus Clowns (track #3), another engrossing production by MMac with DJ Docta cuts, is a poetically infused track in which The Antiheroes attack the rap scene which they perceive as becoming little more than a “circus of clowns.” Sha and Flex stake their claim as MCs to be reckoned with on this track and confidently announce their goal to elevate the standards of what is deemed to be acceptable, quality rap music (also check the remix on the album’s final track).

Fly (track #5) is an inspirational track with captivating samples by producer Jay Emess about finding motivation and self-empowerment by being grateful and focusing on living out dreams in order to elevate over current circumstances.

            There’s a slew of talented features on the album. Soulful songstress Tamsynn Lee blesses track #4, Masquerade, (as well as track #9, All Alone) which is a song that digs below the surface to reveal the underlying causes of unfortunate life circumstances that have become all too commonplace in the world. Prolific Durham Region rapper Daxflow makes an appearance on Everyday (track #6, produced by Beatwyze, DJ Docta again on the cuts) on which he vents his anger about his abusive, selfish, irresponsible absentee father, while Sha Prince speaks on the painful experiences of his past that he kept inside and Flex reveals that expressing himself via writing and rapping has been vital to his existence: “what’s living if I’m within a prison built up inside?/ if it wasn’t written, I’d never find a will to survive.” Everyday is an especially insightful track as each of the lyricists describe in their own way (whether explicitly or otherwise) how hip hop, via writing and rapping (i.e. being emcees), has given them the ability to stay sane and live productive, meaningful lives despite the trying circumstances they faced growing up. The Rebels (Listen Up) (track #7) is one of the heaviest hitting bangers on the album, thanks in part to the banging beat produced by up-and-coming Toronto producer RichKidd. This track is definitely an attention grabber (evident in the title of the track), with high-impact lyrics, punchy deliveries from both Sha and Flex, and complete with a feature from the always entertaining D-Sisive: “fuck you, your momma and your cousin too/ your momma’s gay husband’s uncle’s brother, and his cousin too” (yes D…you got our attention...).

Singer Emerson Brooks (recently signed to Atlantic Records) provides a unique hook on Where to Begin (track #12), a song about relationship troubles and past relationships. Kenny Cee, another skilled vocalist, sings the chorus on Given Up On Me (track #13), a track produced by Khz with a sample that sounds eerily similar to Zepplin’s Stairway to Heaven. Flex and Sha Prince complement each other very elegantly on this track, with Flex delivering a calmer, more melodic verse with reflective and well contextualized lyrics about his past, whereas Sha raps with a much harsher tone and abrasive cadences, which match the animated and harsh content on his retrospective verse. Gospel-style R&B singer Mike Devine compliments track #16, Morning, with his passionate and ambient voice. The beat on this track, produced by Graffic, is probably the calmest and most laid-back beat on the album, which evidently doesn’t suit The Antiheroes style very well, unfortunately – both Sha and Flex sound a bit harsh over this track, which could have benefited either by them toning down their deliveries a bit or by a smoother vocal mixing by the engineer.

The Antiheroes give a vividly dispelling treatment to the dirty underbelly of the “Hollywood lifestyle” of entertainment on Hollywood (track #10), produced by triple-threat artist Relic. One of my personal favourites on the entire album (which is hard to say, given how dope the entire project is) is the track OJ Gloves (track #11). There’s something very serious and polished about Sha’s tone and delivery on this track, showing that even when he simplifies his flows he can still spit hard and impress with the best of them. Flex also comes correct and on point on OJ Gloves, at times with flows reminiscent of Big Pun (with a clearer voice and less laboured reathing). Lyrically, both emcees prove how bright they can shine in this song (albeit each in their own way), Sha with his clever vulgarity, “laughing, like my first name Freddy dude/ last name Kruger but filthier than a prostitute/ not on my level – never reach my altitude/ finger hurt from skipping your tracks like they was interludes,” and Flex with his intellectual superiority, “I take it some of you followers swallow what you were fed/ you wallow within your own – I’m stepping over your head.” Track #15, Of the Night, is definitely a hidden gem on this album, with The Antiheroes coming raw with flows that remind the listener of classic Planet Asia verses and lyrics that evoke the feelings of dark alleyways and late nights with shady characters in the wrong part of town. MMac again supplies an excellently produced instrumental for this song that evokes memories of Pharaohe Monch’s Internal Affairs album.

There’s an overarching sound on this is freeDUMB that can best be described as a romantic requiem in response to a dead and pure form of hip hop that has been lost over the years. In a broader context, there seems to be an undertone in the MCs words expressing a nostalgic eulogy to naïve dreams, desires, and values that, while not being abandoned, have had to be tempered and adapted to certain harsh realities they now face. Flex and Sha Prince are, for the most part, a very complementary pair of artists throughout the project. Flex endows The Antiheroes’ sound with a sense of stability in terms of rhyme pattern, flow structure, and smooth delivery while Sha Prince contributes unpredictability with intricate flows, harsher tones, and a gritty feel to his verses. After listening to each artists’ lyrical content, particularly their respective interludes (Flex on track #8 and Sha Prince on track #13), it seems that despite both of them coming from difficult childhood upbringings, Flex is a bit more at peace with his past that Sha is. The difference in the places on their life journeys between the two artists, while the divide doesn’t seem to be too big, makes for an interesting dichotomy throughout the project. It’s hard to fault either MC for anything; both of the rappers are technically almost perfect with their flows and their styles are well defined. To be nitpicky (and I am stretching for constructive criticisms here), Flex’s voice and presence on the tracks can at times sound a bit monotonous from song to song (despite switching up his flows and rhyme structures). Sha Prince, on the other hand, can occasionally go a bit far with the complexity of his flow structure, which can sometimes obstruct the vibe of the track. Most listeners may not put this album on repeat and listen to all the minute details and technical elements in the music, however I encourage them do so – if they are lovers of hip hop, they will be hard-pressed to find anything to give this album flack for. The Antiheroes have set the bar very high for themselves on their debut LP, and I hope that the world starts to take notice of the immense talent that is embedded on the wax (or plastic or digital encoding) of this is freeDUMB.

Album Review: Promise - Awakening

Get the album HERE.

            For those who are thus far unfamiliar with Promise, Awakening is a good time to get familiar. Originally from Toronto, Promise moved to the US in recent years and is currently being managed by Duck Down Music. Released in 2011, Promise’s most recent album, Awakening, is a musically rich and lyrically engaging listening experience.

            Right from the get-go, the first track on the album, The Wake, engulfs the listener into the context in which Promise writes and pursues his life and a career as a rapper. Promise is a devout Christian, and he isn’t shy about making this fact known in his lyrics. Throughout the album, P touches on his internal conversations with God and how his spiritual connection and religious upbringing influence his life and the message in his songs. While Christian themes and religious overtones may turn off some listeners, Promise is committed to stay true to himself and his convictions and makes no apologies for keeping it real to his core values. More astute listeners won’t be taken back by Promise’s lyrics – he manages to walk the fine line between delivering a conscious-minded message and being preachy very well. Most of the time, he’s able to infuse his spiritual beliefs into his music in an empowering and uplifting manner, encouraging his listeners to look at themselves, their lives, and encourage them to be better people in the world. For those who are averse to hearing about promises of a better afterlife/heaven, you may want to avoid track #4 (Hereafter).

            Being a rapper and at the same time being religiously oriented makes for an interesting dichotomy that can be heard in Promise’s lyrics throughout the album. It’s often the case that rappers/MCs are expected to be egotistical and self-aggrandizing in their content, which Promise does delicately at times, while at the same time striving to be humble and giving the credit for his talents, skills, and blessings up to God (check track #2, Clark Kent). And make no mistake – Promise is not lacking in talent and rapping ability on the mic. His vocal presence is strong and melodic, while his vocal tone and cadences come across as sincere and heart-felt. When it comes to flows, P definitely doesn’t follow the cookie-cutter approach that is all too prevalent in the world of rap music, and he isn’t afraid to change up his rhyme patterns quickly between bars. Having seen some of his live performances as well, I can safely say he’s an all-around great MC, and holds it down just as properly live as he does in the booth.

            Lovers of Tupac Shakur’s song Changes should enjoy track #3 (Something Better), which melodically and lyrically seems to be a bit of a tribute to the late artist (albeit with a more religious and less “thug life” message). There are an abundance of talented vocalists on Awakening, which makes for a very rich listening experience, and it would be hard to simply classify the album as a “hip hop” record. Awakening definitely fits into the “soul” category and, some may say, the “holy hip hop” category. I encourage listeners to give up their labels for this one, however, and simply sit back and take in the album (suffice it to say that it fits into the category of “good music”). For those looking for straight lyricism, punch-lines, and creative flows, check out track #7, Against the Odds. With a contagious hook by Jhene Aiko and an in-depth look into the mind of the artist, this is easily one of the best tracks on the album (close second/possibly a tie goes to track #5, Everyone Knows feat. Tony Williams). Check some of the lyrics from Gonna Make It:

“Labels that I wanted to sign, would want to me shine, they don’t want me to rhyme, they want me to lie and sign posters/ I was like, “you outta your mind?” so I had to decline, and now I’m just rapping to find closure/ I know, when the sun shines it’s over/ compromise my art? no sir/ if the sky don’t part, my hopes will help me to smile in the Dark Knight – Joker” –Promise

            Another personal favourite track on the album is #9, Somebody Else. Featuring Slakah the Beatchild, this song has an excellent crowd-sing-along type chorus with a positive “be yourself” message and smooth production with some nice organ/piano sounds. Followed up by another great track with heavy organ-laden instrumentation, Don’t is a powerful song about the dangers of making bad choices and the fallacy of victimhood (in this case by blaming God) in such scenarios. The track’s hook and bridge, saturated which distortion and synthetized sounds effects (reminiscent of Kanye West), can be a bit overly abrasive at times, but works quite well in the song overall. After this track, the album’s theme shifts focus into the empowerment of women (tracks #11, 12, 13), which is clearly a cause that Promise is passionate about. Men trying to run game on women everywhere will probably dislike track #10, Down, because Promise comes straight with the type of advice that cuts through all the bullshit that can often encapsulate dysfunctional relationships: “Just because he’s in you doesn’t mean he’s into you” and “When’s the last time your man said he loved you and in return wanted nothing from you? huh? huh? huh?” "Huh? huh? huh?" indeed! Kudos Promise.

            While there are some definite gems on Awakening, there are also some tracks on this album that aren’t nearly as strong as the others. There are times when Promise falls into the trap of spitting recycled clichés, which wouldn’t be so glaring if his lyricism didn’t shine so brilliantly at other times. The quality of the all the tracks in terms of production, mixing/mastering, and vocal performances is solid throughout the album. It’s just that a few of the tracks on their own seem to be a bit weaker in terms of their overall vibe and the messages behind them. When taken as a cohesive whole, however, the vast majority of the album flows quite well and the tracks fit together nicely.

            The final track on the album, Skin Deep, which has a beautiful guitar-based melody, does a good job of summing up Promise’s mission in life and the overall theme of the album: “But why me?/ I guess in a world that seems Godless it’s hard to be Godly/ so God please, give me words when I speak to help fix the worst that I see.” It’s clear that Promise is an artist who puts his heart and soul into his music, which is probably the main reason why he resounds so well with his listeners. In an industry where most rappers seem to be out just for the green, not to mention a world that seems to run on much less than values and principles, it’s refreshing and hopeful to know that there’s an artist like Promise out there, working, building, and creating art for the promise of a better tomorrow. 

All lovers of GOOD MUSIC are encouraged to check out Promise's entire discography.
And read up on the artists HERE.