“I Grow Up To Be A Streiht Up Menace, G’yeah…”

10/26/2009

Anthony Age 22

I know exactly what you’re thinkin’ right now.

“Who’s this, Drake‘s little brother? I don’t think I’ve ever heard of whoever this is.”

Oh… you’ve heard of him. Don’t think so?

anthony menace

How ’bout now?

That’s right, good people: if you’ve ever wondered what the lil’ kid who played as Anthony in Menace II Society is up to these days, here you have it. His name was Julian Roy Doster, but now, his name is Menace (clever, eh?) and guess what… he’s an aspiring rapper. Sigh.

Unfortunately, he only has one song on his MySpace page. On top of that, it sounds like a mix of J-Kwon‘s “Tipsy” and the Ying Yang Twins“Whisper Song” (but that’s to be expected- they were movin’ to Atlanta, right?). I think what the young Menace needs is a lil’ artistic direction. He’s halfway there with the name, so he might as well go all the way in and take on the entire character. Excuse me as I do a lil’ armchair A&R for this kid’s album- a concept album, if you will…

Anthony Get In Your Room

“Guess Who’s Back?”: The re-introduction to lil’ Anthony, now 22 years old and takin’ the harsh realities from the street to the studio, with his aggressive content.

“Big Wheels”: It’s been a long time since his brand-new Big Wheel got shot the fukk up right along with Caine and Sharif. Nowadays, Young Menace is pushin’ some serious whippage… why not make a track about it?

“I’ll Whoop Your Ass!”: He ain’t a kid anymore, so he can say it all he wants now.

“Mama”: The tear-jerker of the album, dedicated to Ronnie‘s fine ass. Anthony shows love to the woman who read books to him, threatened to break his tail if she ever caught him with a gun, and gave him juice instead of beer when he was thirsty. Speaking of which…

“I’m Thirsty, Can I Have Some Beer?”: The ULTIMATE bottle-poppin’ anthem for 2010. Everybody’s talkin’ about how they got the Patron and the Jose and all that bullshit… but Anthony can change the game all over again by bringing back the 40 oz.

“Pow, Punk Ass!” (feat. MC Eiht): Here, Anthony could brag about the time Caine showed him how to shoot when he was 5. Now all grown up, he’s in these streets big wheelin’ and cap-peelin’. Eiht (a.k.a. A-Wax) intros the track with the eternally classic ad-lib, “wake yo’ punk ass up!”

“Fatherless Child”: Tear-jerker #2, as Anthony reminisces on growing up without someone to show him the way. First, Pernell got life, then Caine got death. Could be the “Papa Was A Rollin’ Stone” for the new generation.

“Ileana’s Cousin”: The album comes to a climactic end, as Menace exacts revenge on the man who killed his father figure. What’s up now, pot’na?!

Look, It AIn't Loaded!

BOOM. Add in a couple filler songs, use one of those pictures from the movie as the album cover on some Illmatic-type shit, and there it is. Now I’m off to find Ross Bagley a.k.a. Little Nicky from The Fresh Prince Of Bel-Air. Have I got an idea for him: a Will Smith dis track called “I HATE YOU WILL!”.

-D! (shoutout to the homiechick Jia)


The Neo-N*gga Of The Nineties

10/16/2009

dangelo

The first time I heard D’Angelo was during my spring break in ’95. I was half-watching a video show on BET called In Your Ear, when the video for “Brown Sugar” came on. On my first listen, I didn’t even know he was talkin’ about weed, but I liked that song. The following weekend, I called my favorite record store asking if they had it, and they didn’t even know what I was referring to. By the weekend after that, not only did they know exactly what I was asking about, but it was already sold out.

brown sugar

D’Angelo was a unique artist when he came out with “Brown Sugar” and the album of the same name. His sound wasn’t really like the “traditional” R&B, but it also didn’t sound like the Hip-Hop-inspired R&B that was all over the place by then. Around ’95, there weren’t many people making 100% organic music and still appealing to the people my age. As much of an enthusiast as I am about the decade, the ’90s weren’t exactly the time for instrumentation in comparison to previous decades. That was more of a “mature” sound if anything, and it was almost considered to be like jazz. Minus a couple of exceptions, most of that kinda stuff wasn’t flyin’ with the youngins unless it had a remix.

But with D’Angelo’s music, it had a more current style that wasn’t so far out of the box that it got overlooked. I even knew people who didn’t like much R&B, but did like Brown Sugar. It was a new thing that was later called Neo-Soul, but at the moment was just good music in its own space. Artists like Maxwell and Erykah Badu followed, and while they did it on their merit, I can say that the success of D’Angelo likely opened that lane for them to get the airplay and exposure that they got. Had he flopped, their spots could’ve easily gone to whomever was doing their best R. Kelly impression at the time.

d'angelo mugshot

By journalists, D’Angelo was seen as a combination of other great artists before him, and even as a successor to Prince. Not sure if that was a lot of pressure for him (although it probably was), but he ended up becoming more and more scarce as the ’90s continued on. With the talents he had, he was also more intense when it came to his music being on-point. While others with about half the talent were out there on a regular basis, D’Angelo took all the time he needed and wanted. When he finally did follow up with Voodoo, it was an album that kinda went two ways- some loved it, some hated it. It ended up getting consumed by two things: the fact that it wasn’t as accessible as Brown Sugar and a video that overshadowed his musical intentions.

It’s been almost 10 years since D’Angelo’s last complete piece of work, and R&B is even further from its core than he thought it was back then. To a degree, I wouldn’t even say he’s made for this era. He was an artist who studied all the greats and incorporated their influence into his music, whereas most of the interest as of late has been in making a hot record for this month. Of course, he’s also been sidetracked by “other” stuff, which makes the chances of another album even more unlikely. There’s been one promised for years, but I’m not sure I’d bet money on it coming out.

d'angelo

Much like Lauryn Hill, I think it’s safe to say D’Angelo’s absence has been brought on by both his own personal issues and music industry issues. Sucks too, because those first couple years seemed like the beginning of some epic shit.

“Brown Sugar” (1995)

“Cruisin’” (1995)

“She’s Always In My Hair” (1997)

“Devil’s Pie” (1998)

“Untitled (How Does It Feel)” (1999)

-D!


Well, It’s A Group Thang…

08/19/2009

boyzIImen

Quick question: the hell happened to all the R&B groups?

Remember when every other week, there was a new act that consisted of three to five members? When names like Boyz II Men, SWV, TLC, Jodeci, and En Vogue were in the forefront, and every new group that came out was compared to them? Solo artists did their thing no doubt, but groups played a big part in the sound of R&B in the ’90s (and every decade prior, too).

swvJodeci

Of course, some of them were derivative and random as all hell, while others were so non-descript that they had no presence whatsoever. But a lot of the best music from that time period- even if it was just one song- came from trios, quartets, and quintets. The current lack thereof is something that I feel is a void in the music today, because there’s so much focus on solo artists now. There’s definitely some who are stars of their own merit, but there’s also some who’d possibly be much better off in a team effort.

As sorely missed as the group element is, I kinda understand why that could be. At the risk of bein’ dead-ass wrong (but a good chance of bein’ dead-ass right), I have some educated guesses as to why there are so few groups nowadays.

envoguetonytonitone

Dead Fukkin’ Presidents: It’s the thing that has split artists from their labels, producers, and eachother… and it’s definitely killed off more than its fair share of groups. Money has been at the center of too many breakups to name, but the story always ends up the same once it comes out. Since it’s well-known by now that artists really don’t make as much money as they appear to, it’s fair to assume that a lot of them just don’t see a future in accepting a small piece of a small pie.

new_edition_Tlc - Crazy Sexy Cool

“Ain’t Nobody Comin’ To See You, Otis”: My second guess is that with group efforts come different personalities, and sometimes even members with their own set of different personalities. Instead of just creating great music together, a lot of groups imploded because of a member who believed (or was led to believe) that he/she was bigger or better than the others. It’s the same shit that’s been goin’ on since the Temptations and the Supremes in the Motown era. You’d think they’d have seen the stories of other great groups that fell apart and learn from them, but even the best ones got trapped in the same predicament.

blackstreetdestinyschild

“They’re Allll Dooooomed”: My final guess is that labels have simply seen what the fate is for most R&B groups, and have decided that it’s just not worth it. Aspiring artists themselves don’t look to be in a group these days, whether they’re cut out to be solo or not. As I mentioned before in my “90s Girls” entry, a lot of them didn’t last past their second album- whether it was due to declining sales or parting of the ways. In some cases, these groups were pieced together in the first place, so the breakup was bound to happen eventually. It was just a matter of how long they’d take to get tired of pretending they were friends.

day26-nobitchassness

Nowadays, we’re left with… Day26, Pretty Ricky, and Electrik Red? Ehh. Sad to say, I think the influx of R&B groups in the ’90s mighta had an influence on the low demand for them now. Most didn’t last, damn near all of them broke up, and only a few have split and reunited (not that it mattered once they did). The few who managed to stay together got pushed out by the changing industry. To me, it sucks that there isn’t much of a place for groups in popular R&B (or hip-hop for that matter) today. Unfortunately though, it’s one of those things that suck for us as listeners, but make perfect sense for business.

After all, who the fukk needs harmony when we have Autotune, right?

Tony! Toni! Tone! “It Never Rains In Southern California” (1990)

TROOP “Spread My Wings” (1990)

Boyz II Men “It’s So Hard To Say Goodbye To Yesterday” (1991)

Jodeci “Stay” (1991)

TLC “Baby-Baby-Baby” (1992)

Shai “If I Ever Fall In Love” (Acapella Version) (1992)

SWV “Weak” (1993)

Hi-Five “Quality Time” (1993)

XScape “Just Kickin’ It” (1993)

BlackStreet “Before I Let You Go” (1994)

Az Yet “Last Night” (1996)

En Vogue “Don’t Let Go (Love)” (1996)

112 “Cupid” (1997)

Destiny’s Child “No, No, No” (1998)

Dru Hill “Beauty” (1998)

-D!


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