video review: 'everybody' by logic

Well, it looks like some people are already in their feelings about this review... can't say I'm surprised, I really went in on this one.

Maybe it's time to take a step back and knock something off the top of my schedule that's been in my backlog for a while... so stay tuned!

album review: 'everybody' by logic

So before we begin in earnest, let's talk about race in mainstream hip-hop.

Actually, let's not, mostly because the comments on this are already going to be a small minefield anyway and more importantly because it's a more complicated question than I think I'm equipped to answer. Suffice to say that with hip-hop being a primarily black artform with a predication towards social commentary that still sells a lot of records to white audiences, it comes up - and then it faces a backlash from often predominantly white fans who just want to hear bars instead of content that speaks to the culture, but that's a bigger issue. But given that hip-hop often sits at a major intersection point of popular culture - especially for younger audiences - inevitably you're going to find rappers who are bi- or multiracial, which can present its own set of questions surrounding where they fall on the racial divide should they choose to engage with the conversation. And there's more of them than you might think - Drake, J. Cole, Slug from Atmosphere, Kid Cudi, I could go on - but when it comes to the artist who was aiming to target this directly in his music or at least reference it a fair bit more, you need to talk about Logic. Now I've reviewed him twice before - Under Pressure being a damn great major label debut, his followup a year later with The Incredible True Story aiming to pull off a sci-fi narrative that couldn't quite back up its ambitions but was still quite solid - but I had heard some odd things going into Everybody this year. For one, it was reportedly going to be another concept album following off of The Incredible True Story, and for another, one of the major underlying plot ideas was going to be a utopian post-racial society looking back upon modern Earth - and given that at one point Logic was going to title the album AfricAryaN didn't help matters. And considering his guest list included heavyweights in conscious hip-hop like Killer Mike, Chuck D, and Black Thought opposite tracks with Juicy J, Khalid, Alessia Cara and Neil DeGrasse Tyson and the record was also running about seventy minutes... well, it was going to be something, I knew that, even if the singles seemed to indicate similar issues with conceptual consistency and narrative that plagued The Incredible True Story. But again, Logic is a really good rapper and I do respect this kind of ambition, so does he have something for Everybody?

billboard BREAKDOWN - hot 100 - may 20, 2017 (VIDEO)

Well, this episode got a LOT of conversation... huh, a little surprised, to be honest, especially with so many mediocre tracks. Oh well.

Next up... ooh boy, it's Logic. Stay tuned!

billboard BREAKDOWN - hot 100 - may 20, 2017

So I think it's fairly obvious that we live in uncertain times, and while music critics and cultural anthropologists will debate how much the music that charts will reflect the world around us, I think you could make a case for the Hot 100 being the most unsettled it's been in some time. Because while you could make a story about Katy Perry collaborating with Migos, or the fight for dominance between One Direction members, or that Gorillaz for no discernable reason failed to sell enough to chart this week, the big story is for the third time in three weeks, we have a new #1... and like with the others, there's no clear indication of how long it'll last.

billboard BREAKDOWN - hot 100 - may 6, 2017 (VIDEO)

Man, I'm really proud of this episode. Long one, but a damn great one.

Next up, though... finally getting to Jason Eady, and I'm psyched - stay tuned!

billboard BREAKDOWN - hot 100 - may 6, 2017

There will be people who won't appreciate what this week means. Hell, I'd put money on the fact that there are plenty of people who have no idea who Kendrick Lamar even is - which yeah, if you've been listening to hip-hop at all in the past decade that'll blow your mind, but a mainstream crossover at this level does mean a lot more. Yeah, there have been plenty of acts who have scored a fluke #1 hit, even within hip-hop - but when was the last time an MC with actual bars snagged the top spot? Here's a little perspective: Biggie got there, but Tupac didn't. Neither did Nas. Jay-Z needed Alicia Keys to get to #1 in 2009. Eminem and Kanye both got there a few times, but they are both pop culture phenomenons in their own right. Lil Wayne never got there on his own - nor has Nicki Minaj or Drake. With Kendrick getting the solo #1... that sort of hit can create a sea change in pop culture, especially if it has any longevity.

billboard BREAKDOWN - hot 100 - april 22, 2017 (VIDEO)

Oh wow, this week took a lot out of me... lot to say, and a fair bit of controversy too (because of course there was).

Beyond that... fuck, you know what's coming. Enjoy!

billboard BREAKDOWN - hot 100 - april 22, 2017

I'm honestly not sure where to even start with this week - mostly because it seems overshadowed by the biggest story here, being the huge top ten debut that seems like the first serious threat that our top spot has faced in some time. But there's other stories about this week that deserve some consideration, including major shakeups in country and other disruptive singles. Also, Kodak Black happened for some ungodly reason, but we'll get to that.

billboard BREAKDOWN - hot 100 - july 23, 2016 (VIDEO)

Another slow week on the Hot 100. Eh, it happens - at least Logic finally debuted, and I didn't hate that new Fergie song quite as much as I thought I would, which I count as a net positive.

But enough wasting time: ScHoolboy Q is up next, so stay tuned!

billboard BREAKDOWN - hot 100 - july 23, 2016

...well folks, it's the summer lull. High temperatures and vacation means that the charts have fallen into a torpor, with nary a major shift in sight. In other words, we got another slow week - and no guarantee that it's going to be any better.

billboard BREAKDOWN - hot 100 - july 16, 2016 (VIDEO)

This was... well, an interesting week to say the least. I genuinely hope we get a shakeup instead of a summer lull, because I don't have much patience for the rest of this. In the mean time, though, I've got Weval, then probably Grace and a few others coming soon, so stay tuned!

billboard BREAKDOWN - hot 100 - july 16, 2016

So here's the thing about the summer lull period with the charts: you get out of it basically what you put in. If you have good songs primed to go live in May or June that'll have some momentum, you'll basically have your summer lineup providing there's no big shakeup or surprises. But if you don't... well, basically you're left with most of the Hot 100 right now, which isn't so much outright awful but full of tracks that engender barely a reaction at all. Fellow music critic Todd In The Shadows described these tracks as fragments, but I'd prefer the term hollow: they fill time on the radio, but you're left feeling like nothing sticks in the way some years have, which is bad even for pop.

video review: 'the incredible true story' by logic

And that's two. Between this album and One Direction, wonder which will have more contention...

Okay, next up is the final episode of the first year of Billboard BREAKDOWN, and then probably discuss Bieber. Stay tuned!

album review: 'the incredible true story' by logic

So here's a quandary: you're an up-and-coming rapper who is riding a ton of buzz and you've just dropped your debut album. And while you're getting critical acclaim from some outlets, there are some critics who have come down hard about your flow's resemblance to another more acclaimed MC. And even despite the fact that your production is accessible, even mainstream friendly and your album is selling well, you're not getting radio with any recognizable hits. What do you do next?

Well, there's no easy answer to that question, and for as much as I liked Under Pressure when I reviewed it last year, I was definitely worried about this. I still think the album holds up even despite the easy Kendrick Lamar comparison in his flow, mostly because Logic's brand of smoothness and internally focused introspection does lead to a distinctive personality that I find appealing. But outside of a few songs like 'Nikki' and the criminally underrated 'Metropolis', it's not an album I've found the time to revisit, and I found myself concerned that the 'style-over-substance' criticisms that had been levelled at Logic might have some validity if it wasn't gripping me longer.

So when it came to a sophomore record, when I started hearing the buzz that it would a be a sci-fi narrative-driven concept record... well, if he was looking for a way to stand out and away from Kendrick, this would be the way to do it! Hell, this could be new territory for hip-hop as a genre - I did some research and the closest we'd get here is Deltron 3030, and even with that it hit deeply diminishing returns with the long-awaited sequel Event 2 in 2013. Sure, Big K.R.I.T. took stabs at it with Cadillactica, but not to this narrative level. But at the same time, considering that Logic was going to be handling most of the production himself, this had the feel of an overreach, the sort of ambitious project that could be make or break for a guy like Logic. But hey, I'm a sci-fi nerd and a fan of Logic, so I prayed for the best - did The Incredible True Story deliver?

video review: 'under pressure' by logic

I'm genuinely surprised that this album turned out as well as it did. Not that I had low expectations, but it came out in the best sort of way. Nice work.

Next up will be the Iceage video in a few hours, so stay tuned!

album review: 'under pressure' by logic

Let's talk briefly about hip-hop magazines - I say briefly, because at this point, many of them are teetering on the point of irrelevance, especially in print. But the odd thing is that it didn't use to be like that at all - I can remember within the past ten to fifteen years when ratings from publications like XXL and The Source held influence and power and used to be the go-to for people to get hip-hop exclusive news. Hell, I remember Eminem's beef with former co-owner of The Source Benzino, where he wrote some of his most infamous diss tracks like 'Nail In The Coffin'.

But now? The Internet has blown the hip-hop conversation wide open, between established music criticism sites, blogs, and - of course - channels like yours truly. And what this means is that the 'old guard' has needed to do something to maintain a vestige of relevance and hip-hop 'cred' - and this takes us to XXL's Freshman List. Now if you're a hardcore hip-hop fan or if you have your ear to the ground, you likely consider the list a complete joke, a flailing attempt by XXL to get a handle on what new acts in hip-hop could break out and become mainstream success stories, to be the guys that called it first. But let's be honest here: I'm not really part of the readership of XXL, and for less-invested hip-hop fans, I can see a certain degree of value in the list, and it's almost always a solid signal boost for the artists in question. And while artists like A$AP Rocky have turned them down, I'm not too proud to admit that I've found MCs I might have otherwise missed that have managed to surprise me from this list.

So on that note, let's talk about one of them: Logic. He started releasing mixtapes in 2010 and built some pretty strong buzz, but he was one of those artists I've always had a bit of a hard time getting a grip on. Yes, he definitely has a solid flow and he's got good bars, but I had a hard time getting a grip on him on a unique rapper. His first Young Sinatra tape did a fair bit to show a lot of sides to his personality and some of his personal idiosyncrasies, but on following tapes he aimed to diversify his sound and draw more of a mainstream hip-hop audience and it didn't always feel as cohesive as an album whole with the more lyrical oldschool tracks. And while I didn't dislike his mixtapes, I always found them a little uneven in terms of content - although that was more of an issue with Undeniable than Welcome To Forever, which I did think was better better. But I figured, 'Hey, when he works to create a fully cohesive album', it'd probably have more cohesion or a more defined style', so I was very interested in his major label debut from Def Jam titled Under Pressure, especially considering the fact there was no credited features on the standard edition of the album - so how did it go?