Words I Did Say

Listen to Alan C. Duncan’s latest single, “Dying for...

Fri, 29 Mar 2013 14:39:25 -0400

Listen to Alan C. Duncan’s latest single, “Dying for You (Remixed)” and click ‘Buy on iTunes’ to support. 100% of the profits will be donated to charity - http://bit.ly/ZsNOnp

Read my review of the single - http://bit.ly/11DHP2N

Rick Ross, rape and changing the environment

Tue, 26 Mar 2013 15:23:00 -0400

Christians are all up in twitter-arms this week because Kanye is teasing an album title that I doubt anyone truly takes seriously or expects to be pressed on wax. All this faux outrage is going on while controversy swirls over Rick Ross’ guest verse on Rocko’s “You Don’t Even Know It” track. No need to impress your friends by acting like you knew who Rocko was before all this…I’m sure not going to bother. The line in question, coming in the second verse, is when Ross brags that he ”Put molly all in her champagne, She ain’t even know it / I took her home and I enjoyed that, She ain’t even know it.” For those unaware, molly is a more common street drug in close relation to and sharing elements of Ecstacy, being name dropped in rap nowadays like codeine and its z’ed variations were a short time ago.

Let me say this right off the bat: The line is disgusting, offensive, irresponsible, repugnant, inexcusable, dangerous and genuinely worthless. If someone were to suggest something similar to what Ross said about a female in my life that I had even the smallest ounce of care for, I’d have little to no problem degrading their quality of physical life. That’s the easy part. The hard part comes with interacting with a culture where contradictions are comfortably lived with.

Bloggers are often labeled, at best, sideline reporters who write either wistfully or bitterly about a game they will never participate in. So is simply calling the song foul beyond redemption and boycotting the musical of all involved enough to fight the cultural mindset that birthed and will ignore Ross’ rape co-sign? There are plenty of other ways this conversation can go than the one that changes things. Some of those paths, passionately ran down, will get to the acid-beating heart of the issue. Others will be unwitting distractions from the point of all this controversy. The deteriorating effect that hip-hop has on America’s youth will be testified to. A retweet here, a rant there to ease the conscience of those detached from the culture that “I’ve done something.” But is what you’re planning to do going to change anything? More importantly, will your actions change anybody?

I fully recognize the fantastical nature of hip-hop, especially the bloated hedonism that dominates the modern airwaves. That will no doubt be the excuse those who support Ross through this will post in caps lock. Real recognize real, they say. But that usually tells me more about those who do the recognizing than those being recognized as authentic. And although the culture’s climate is quicker to offer an excused explanation for irresponsible action than a damning judgment, this should not be the case here, especially on this topic of rape that, to the damaging detriment of the victims, is found to be gray far too often in the public eye. Personally, I’m not looking for an apology from label or rapper (Although I fully understand why those petitioning for it are doing so). What I am looking for is a catalyst to end the lack of engagement with those who will be hearing and digesting the song; primarily our youth.

We can take the line as a starting point to say enough or we could label it ignorance and throw it in a maggot-soaked pile of feces never to be seen again. Or we can be the change in the areas that house those who will be posting that line as their Facebook status. (That’s both suburbs and ghettos, just in case pre-conceived notions had brought to your mind only the latter).

Is that a frustratingly vague mission statement? Maybe. But once you are in this culture, it’s ailments are painfully obvious and what needs to be cured becomes apparent immediately. Involvement, coaching, conversations and engagement are where it begins. Where it ends is up to those of us in the trenches. So vocalize outrage over this misogynistic vomit instead of the illuminati elements of Beyonce’s halftime performance and get involved in the change that you see the field needs.

For a more detailed exposition of Ross’ role and the rape culture that the line was preached to, read this quality article - http://bit.ly/106oOF1

Alan C. Duncan - "Dying for You (Remixed)"

Mon, 25 Mar 2013 15:06:00 -0400

Perspective is golden. Pain-seared perspective birthed on lifted wooden beams is a much more valuable, blood-stained jewel. The latest single from Alan C. Duncan, “Dying for You (Remixed)” is an emotional 4.5 minute acceleration through the eternal first person view of the atonement, fitting for its Good Friday release date.

Many claim the title of artist over the singular emcee label, but Alan C. Duncan, proudly hailing from Cleveland, Ohio, wears so many layers in his outfit, including producer and videographer that the holistic title of artist seems to fit perfectly with no sense of starving dramatics. His brand new single, as mentioned, is an eternal vantage point on Christ’s earthly sacrifice that demands deep meditation. The song itself comes wrapped in a mood-setting stream of creaking Rhodes keys, organic live trumpets and patient drum rhythms. The song reaches its highest thematic intensity when the emcee shouts love through a parched throat, further adding to the song’s portrait, before chilling vocal notes lifted to the heavens by Joanna Duncan, the rapper’s wife, bring the song to it’s invitational “It is finished” final breath. “Dying for You (Remixed)” is a gift of sonic antiquity and priceless perspective on the glorious sacrifice of the son of God and a carpenter that adds a deeper element to the average “Passion of the Christ” view of Good Friday.

“Dying for You (Remixed)” drops 3.29.13.

Follow - twitter.com/alancduncan

W.L.A.K. Week Part 4 - We Live As Kings Review

Thu, 07 Mar 2013 16:30:09 -0500

Since the beginning of time, humanity’s positional view of self and belief of how his creator views him has been both the most foundational and the most crippling truth to dictate the daily steps of mankind. Think of yourself as the center of your sub-universe and you walk around with arrogance cloned over airwaves but rarely respected in person when you get to cursing out those who eclipse you as you’re escorted out of a South Beach stadium.On the flip side, if you see yourself as the lowest of the earth (Either proudly or depressingly) the adjectives, or lack thereof, that people tag your Facebook pictures with will be what defines you, usually for the worse. In the Christian life, view of self is no less mangled. Does the mirror show you a filthy, repulsive sinner who traces ‘chief of sinners’ in your recurring pile of vomit like sand on the beach or a person forgiven for life who abuses the freedom of the Cross to feed Pharisaical gluttony? The Collision Records roster (Dre Murray, Swoope, Alex Faith, Christon Gray & producer/A&R Wit), while acknowledging the reality of the previous examples, presents a mindset grounded in Scripture: That believers are kings through the blood-stained cross. Their goal isn’t a solid-gold altar to self but an exhortation the brethren in everyday life in light of truth that will eventually see our crowns returned to the one who bestowed them on us, out of gratitude. Because, according to Scripture, We are to Live as Kings.

If “WLAK,” the album finale from Swoope’s masterful “Wake Up,” was an end of credits teaser a la Marvel, “Intro” is the opening credits heard in crystal clear surround sound as the IMAX theater lights dim. Wit and Swoope produce a three-minute instrumental piece that opens with familiar chants, opens up to a smoky, drum-heavy build-up and relaxes into a meditative piano-driven walk suitable for the nippy autumn nights. That slow-burner of a piano line eventually segues into Christon’s Grays crooning on “Imagine.” In case you had any doubts, this lead single will have the most wary listener requesting forgiveness for a lack of faith in the lyrical prowess, flexibility and punchline reach of every artist involved. “Long Way Down” exhales an atmospheric fog of synthesizer spiced with menace via Dre and Christon’s lyrical damnation of Lucifer. Christon has never sounded more like Stevie Wonder here, in the best way possible, and seeing the emotions come etched on the vocalist’s face in the music video only adds to its rippling depth. Calling “All In” one of the album’s weakest moments, musically, is similar to ranking Christopher Nolan’s catalog from best to worst: The ‘worst’ of both artists is still much higher than the 2.5-star average of the muddled mainstream expressway. I’m not sold on the rock mentality of the chorus and much more prefer the sound of the effect-driven verses that compliment Alex and Dre’s power-packed verses that disregard fair competition.

“Coward,” with the second of many an ethereal hook by Christon, sees Alex rolling up his sleeve and flexing his groundbreaking brand of rhetorical honesty that continues to touch on deep personal experiences and the weight that comes with believing in this title of king. Swoope’s quality production adds another level of cobwebs to the furnishings. It’s a testament to the many thematic and sonical aspects the album tackles that there isn’t one clear top track. But, for sake of conversation, “Reign is Coming” would be in strong consideration if there needed to be one. Every member of the crew is featured in razor-sharp display and glare common in a photo shoot. The stadium status production (Courtesy of Wit, Swoope and Joseph P.) is the unraveling soundscape that Christon vocally accelerates over in between his teammates performing graphic lyrical taxidermy. If “Reign” was the prophesy of the apocalypse, sonically, the Dirty Rice/Swoope creation of “YHWH” is the fire-engulfed comets hurled at light speed to the earth’s crust. The beat, opening with a bass line that brought to mind Kendrick’s “Backseat Freestyle,” is ferocious, made even more destructive by Swoope’s omnipresent lighter fluid punchlines and Dre’s zealous spitfire. “ABNY (Marty McFly)” tones down the musical heat without sacrificing eye-on-the-prize intensity of the emcees. Swoope and Alex parkour a zippy piano line (no loops) and a bombastic, Swoope-chanted chorus that has no right being as infectious as it is.

“Broken Kings” is an exhaled deep breath that turns the perspective from the Throne to the broken individuals who make decisions on them. The track has a cinematic feel that would play as a costly victory was won and the camera panned across the bloody battle field. In the album’s context, the song is especially moving. The dry well of true love songs by Christian artists gets a little fuller with the suave “Eyes for You” and “WLAQ.” With your headphones off, you could make the decent point that the two tracks should’ve been combined into one but, in the moment, all your focus will be on Christon waxing romantic. “Eyes” is sensual, not for any sultry elements, but because of the obvious intimacy that the track perspires. “Queens” is equally John Legend-smooth (No radio play) before Swoope borrows the mic to dedicate a verse to the ladies that’s plated in 24K white gold because there’s no distillation of a contrived cliche to be found, even at 10x magnification. Continuing with the theme of love, of a higher brand, “Arena” finds Dre reciting worshipful journal entries over a Hillsong-sampled slow dance of a beat. If you get distracted from the candle-light aura the song runs the risk of becoming bland the longer it sticks around but, again, in focused context, it’s a key piece. While the album could have ended nicely there, “King in Me” puts the album to bed. The finale is something of an epilogue where Swoope confidently steps up to his pulpit of the studio mic and recaps most of the themes tackled in the previous fifty minutes of audio adrenaline. The energy level is high, the Swoope beat exercises patient escalation and Christon adds the invisible layer of vocal eloquence once again.

Momentum is a hard fuel to come by in the modern music industry nowadays. No need to let the folks at Collision know that, as the quality of work the label birthed in 2012 is taken up another level while being encapsulated here on W.L.A.K. Hard work beats talent when talent doesn’t work hard, they say. But when cumulative talent works hard and as seamlessly together as Collision works here? The sky is the first inch of the measuring stick, not the limit. Musically, aided by the coming out party of Swoope as super-producer, W.L.A.K. is already one of the strongest production pieces in the subgenre. Lyrically, despite the lack of quotes on display here, purely from sheer volume, all involved feasted with no concern about how high the bar was being raised. Conceptually, the album is cohesive and well-structured with elements of the theme to be found in the veins of every track. We Live As Kings lives up to the bejeweled crown of our position and will be a constant running mate to the heirs of the King until those crowns are turned over to the one deserving of them.

Part 1 - Swoope’s “Wake Up” - http://bit.ly/WiEub6

Part 2 - Alex Faith’s “Honest 2 God” - http://bit.ly/VU2fDY

Part 3 - Christon Gray’s “Body Art” - http://bit.ly/15tENQS

Buy W.L.A.K. on iTunes - https://itunes.apple.com/us/album/w.l.a.k./id596824964 …

My latest article on the Do’s and Don’ts of...

Thu, 07 Mar 2013 13:11:52 -0500

My latest article on the Do’s and Don’ts of Christian Remixes is live over at Dasouth.com. Give it a read and share your thoughts in the comments.

http://www.dasouth.com/features/columns/10969-article-the-dos-and-donts-of-christian-remixes

W.L.A.K. Week Part 3 - Christon Gray ~ Body Art

Mon, 04 Mar 2013 13:26:52 -0500

”There is a time for everything,and a season for every activity under the heavens…”

When I say that Collision Record’s Christon Gray has a voice and vocal range not unlike the suave charisma of John Legend paired with the confident unorthodoxy of Frank Ocean put together in a singer/emcee suit and tie bought from the same warehouse that Childish Gambino shops at, don’t take the references to other vocalists to imply that what we have here is nothing more than a hybrid dreamed up while listening to light urban radio. On the contrary, Mr. Gray is arguably one of the most talented individuals in the subgenre. He can sing better than at least half of who these rappity rappers enlist to belt out a hook for them and his rhymes flip words and metaphors like a college-educated Gabby Douglas with a final scorecard that rivals your favorite rapper. And if you missed the handshake that was his Collision Record’s debut, read on to tempt you to click that download link.

Album opener “Life Is,” produced in-house by Swoope, sets a smooth stage for the coming experience. The freshest part of the track is how seamlessly Christon drifts from crooner to spitter and that ease impresses the listener. “Clear the Air” is a Ra Charm blended cocktail that satisfies with just a few sips of the intentional drum taps and piano riffs. Christon’s bars serve as an expose of the ‘christian celebrity’ that ice the lip of the serving glass. “Captain America” is a grown man track in that it requires patience, if not repeated listens, for all the notes of the smoky jazz template and the additive that is DJ Promote’s succinct scratching to properly infiltrate the nostrils of the listener. When Wize, of Frontlynaz fame, steps into the booth on “Momentum,” I almost didn’t notice because the capable guest and Christon sound so similar while spitting. What I did notice was the oncoming wave freeze-framed in mid-crash that the chorus is and how easily the 3.5 minutes go in and out of my ear buds.

“Dodge,” with snappy production from Red Lettaz, is a satisfied slow burner that again requires patience of the listener that’s not common in modern hip-hop culture. “Blue Skies” gets off to a much faster start when label A&R Wit’s cute samples loses its inhibitions in a frantic bass line while every member of the Collision Roster (Dre Murray, Swoope and Alex Faith) dive into the tornado that is the studio booth. One of my top tracks of 2012. “EWEWU,” boasting a chilling sample from “Even With Evil With Us,” Christon’s 2011 indie album, is somber in tone. The U.K.’s own S.O. trades mics with his host and spews what may be the best wordsmithing to be found on the entire album, stealing the show. The mood of “Good Mourning” is sobering but blessed by ecclesiastical perspective that gazes out a window fogged over by labored breathing instead of outside chills. Swoope paints with broad strokes of keys and longing drums whose template is as bittersweet as tears snaking down a face with a smile. The call to mourn is certainly Biblical and rarely discussed, let alone talked about in such an articulated way as it is here.

More than anything else this year, I think I’ve complained about the lack of quality hooks in our subgenre. So maybe it’s no coincidence that “Ask,” my favorite song of the year, features an etheral vocal hook by Kelly Kelz that could be hashtagged stadium status. Christon prays for healing and help in his quality verse while risking his grip to reach down and help those below him to the plateu that he is at. But the best part of this song of the year is Dre Murray’s concluding bars. They’re laced with the same transparency that ran through the veins of his Hell’s Paradise series this year and the emotive rhyme scheme is the final ingredient to blend in with Kelly’s angelic chorus and Christon’s grounded perspective. “Autumn Leaves” is a breath of fresh fall air in that it births chills, thanks mostly to guest Lauren Heatherly’s angelic chorus, and refreshment in the stark, almost nude, musical landscape populated only by elevating horns (real ones), drumsticks and some bare guitar strums. “Cry No More,” featuring female vocalist Word Perfect and state-mate Kambino, is another bounty of perspective wrapped in Christon’s terse bars with the bow of Kam’s monster of a verse. “The End” is a fitting closer, using yet another quality sample, this time dreamed up by producer Vanilla, and Word Perfect’s lingering notes as the fuel that keeps the treadmill that Christon the rapper runs on for 3 minutes at 6.5 speed. You’ll feel like you know more about Christon the man than you did before you played track 12 and will shout “Maybe it will never be big business to you / but as long as it’s my Fathers, it’s bigger than you!” along with the emcee on repeated listens.

There’s no official thematic connection between “Body Art” and Solomon’s poetic reciting of all of the seasons of mankind’s life in Ecclesiastes 3 , but I see one. In the midst of Christon’s elevating choruses, acrobatic wordplay and genuine reflection is a wide array of life experiences that surely triggered them. For every positive (‘Blue Skies’) there is a negative (‘Cry No More’) interconnected through the entire experience of “Body Art.” In doing so, the LP remains firmly grounded in reality and the every day life of its listeners while offering hope stronger than a grab bag of cliche. Not to mention, “Body Art” is a satisfying musical treat as high quality as the name brands, fully deserving to be enjoyed by the listeners who gravitate towards it. Download it free of charge here.

Part 1 - Swoope’s “Wake Up” - http://bit.ly/WiEub6

Part 2 - Alex Faith’s “Honest 2 God” - http://bit.ly/VU2fDY

W.L.A.K. drops on iTunes at Midnight tonight- . https://itunes.apple.com/us/album/w.l.a.k./id596824964 …

On Deck: The finale - W.L.A.K.

W.L.A.K. Week Part 2 - Alex Faith ~ Honest 2 God

Fri, 01 Mar 2013 23:14:00 -0500

From my incomplete Best of 2012 article:

What Collision Records has done in 2012, their first full year as a label, is impressive and likely to be emulated by every aspiring holy hip-hop label to be started in the next couple years. Only Reach has come close in previous years to having every album out of the imprint dominate my playlist like Swoope’s “Wake Up,” Alex Faith’s “Honest 2 God, Christon Gray’s “Body Art” and, unofficially, Wit and Dre’s “Hell’s Paradise 2” did in 2012. I’ll say it again for emphasis, this was the label’s debut year.

As the countdown continues to Tuesday’s release of the label’s collective W.L.A.K. (We Live as Kings), next up we look at Alex Faith’s “Honest 2 God” LP.

An old Dave Chapelle routine begins by asking if you’ve ever been walking around and glanced at a crew of black guys walking around, “not just any old black dudes, we’re talking thugs,” with a member of the caucasian persuasion as a part of the clique. “Well let me tell you something about those white guys…(they’re) the most dangerous…in that group. There’s no telling what kind of crazy sh** they’ve done to get those black dude’s respect, but whatever they’ve did, it was wild.” If that’s true, then special admiration should be given to Alex Faith of Collision Records, and not only because he sounds nothing like Mr. Mathers. Just a few minutes into his label debut, “Honest 2 God,” any mystery about why he has earned respect in hip-hop circles disappears as quickly as memories of where you’ve heard the southern-bred emcee before (Sho Baraka’s “Barakology” mixtape from way back when and, most recently, label-mate Swoope’s “Wake Up”) will pop into your head.

“If I’m unteachable is that the teachers fault or mine? / Unreachable, is that the preacher’s fault or mine?”

If brazen honesty is your drug of choice, you’ll bask in the 41 minutes of runtime without once reaching to scratch your neck (Cue another Chapelle flashback….). From the opening, muted moments of “Intro” you’re given a warning starker than any parental advisory sticker that the path you’re about to walk down isn’t one for always-grinning faces, unquestioning souls or tissue-thin christian cliches. Don’t make the mistake of thinking that since “Honest 2 God” is such a raw picture frame of life that the sound is apocalyptic or unnecessarily sober, however. When producer Wit samples Adele’s “Rolling in the Deep” on “Have it All” the tone is fairly bright as Alex rants against the myth of the more (possessions), the merrier above a marathon beat, which threatens to overstay it’s welcome with some repetitive sample loops. Likewise, “Georgia Clay,” blessed by the vocal stylings of Jamm and the most relaxed, sip-of-iced-tea-kinda-chill beat I’ve heard from Street Symphony, adds a nice southern side dish of brown-sugar green beans to the thematic menu of the album. And you won’t have more fun on this album than singing along with the Mr. Faith, Marty Mar and Dre Murray on the bombastic “M for Murder,” as long as you’re not too distracted keeping up with the flowing wordplay from all three competent emcees.

I’m not exactly sure how they’ve accomplished it, but Collision Records has a clearly trademarked sound stamp that every album in their discography bears, and this album is equally tattooed. I’d point to label A&R Wit, of Hell’s Paradise and The Watchmen fame, as the glue, since the antiqued, sample-heavy production is a style he’s made his own before joining the team, but the familiarity (And I mean that in the best way possible) of the extended family of production is handled by many more hands than his two. There’s “Video Games” and “Remember the Rain,” both produced by Wit, that are stuffed to the brim with dusty vocal samples and, in the latter, the most opaque bars on the album as Alex recounts losing his son, wrestling with God and loving his wife in the aftermath of tragedy. But then there’s “Dreams,” with lazy bass strings and pensive drum beats, and “Honest 2 God,” that tickles the soul with vintage organ keys and a haunting aura that isn’t defined by single instruments or sounds, produced by Wes Pendelton that both fit the audio puzzle perfectly, without being contrived or copycat.

Speaking of “Dreams” and the title track, both feature monstrous collaborations from in and outside the Collision shed. The former brings the red-hot Social Club aka emcees Marty Mar and Fern into the booth for a autobiographical expose that pushes “Keep it real” to it’s logical, menacing conclusion. Alex all but dares you to think less of him after hearing his opening verse, Marty throws up his guts over the previously mentioned beat (“It’s hardest to be honest with myself / I think my future wife’s probably with somebody else”) and Fern, while exorcising some of his own doubts, picks up some of the pieces, more talking than confessing, to conclude one of the more hopeful songs of the year. “Honest 2 God” is equally impacting in emotional scale and blazing confessions, seen from no better vantage point than Christon Gray’s smoky hook or Swoope’s “This hurts me more than it hurts you” album-closing bars.

I love that blatant honesty/authenticity/choose-your-noun is slowly but surely becoming a cliche in the sub-genre of Christian hip-hop. All it takes is one person being authentic about struggles, lusts, successes and failures to show everyone else in the room that it’s okay to be what the Bible already tells us we are: broken, but daily being repaired. If there’s been a recurring descriptor attached to Alex Faith’s music, it is this uncensored social, personal and spiritual commentary. When revolution-worthy comments are paired with layered, tailored production, you have a winner in your hands. “Honest 2 God” is hardly perfect; it could use some stronger hooks, the heavy doses of sampling can wear on the replay value, and Alex’s flow is sometimes too passive for his own good, but for a rookie outing, expectations are exceeded and subsequently raised for the next go around. Grab the free download here, with no stress about needing to remember where you put the receipt to return it.

Part 1 - Swoope’s “Wake Up” - http://bit.ly/WiEub6

Pre-order W.L.A.K. on iTunes - . https://itunes.apple.com/us/album/w.l.a.k./id596824964 …

On Deck: Christon Gray’s “Body Art”

W.L.A.K. Week Part 1 - Swoope ~ Wake Up"

Wed, 27 Feb 2013 20:28:00 -0500

Quiet as kept, Collision Records has been compiling a roster of emcees, producers and overall talent in the label’s short lifetime. The talent level in comparison to the competition is formidable and the upcoming musical collective, just the label’s fourth release, releases this coming Tuesday, March 5th, on laptops and smart phones everywhere. If you had seen my incomplete “Best of ‘12” list, you would see how much of a fan I am of every artist on a roster that includes Dre Murray, Swoope, Alex Faith and Christon Gray. Just for perspective, I had Collision taking Label of the Year, a smattering of tracks littering the top songs list (Christon Gray’s “Ask,” “Blue Skies,” Swoope’s “Dreamslave,” and Alex Faith’s “Dreams” and “Video Games”) and every album in the label’s stable scattered throughout the Top 15, most notably Swoope’s “Wake Up” at #2. And that doesn’t even include Dre Murray’s work pre-Collision.

All that to say, the upcoming “W.L.A.K.” (We Live as Kings) release is highly anticipated, both personally and culturally, with a level of excitement that rivals “Watch the Throne,” in potential for cultural impact and expectant quality as solid as the gold that encases the album cover’s emblem. In anticipation, I’ll be posting reviews of every major release of Collision Records, up till Tuesday at 12:01 a.m. when we’ll all get the first listen. First up is Swoope’s “Wake Up,” which I reviewed for the quality Rap-Port magazine that you need to check out, first, because it has the most detailed interview with the Ohio emcee I’ve read and, second, for how dope they made my plain words look.

The stats tell us that about one-third of our lives are spent in exhaustion induced, R.E.M. enhanced slumber. Some people relish sleep more than they do the lives they live outside of their dreams while others detest it as a necessary evil and preach ‘I’ll sleep when I’m dead’ from their stained coffee cups. “Inception” turned the concept of dreams on it’s metaphysical head while “The Matrix” had us all wondering if our caffeine amped lives were nothing but a dream we counjured up in our subconcious. Add Akron, Ohio emcee Swoope, with his Collision Records debut release “Wake Up,” as the latest to take the concept of sleep (or lack thereof) and translate it into a detailed concept of potentially classic status.

The album opens with an air of antiquity on ”Ideality Prelude,” featuring an echoing piano that tempts me to slowly rest my eyelids. The faint sound of snoring and an alarm clock complete the audio picture that melts into “Ideality,” which boast that same weathered piano along with some well placed synth underneath a paced Swoope flow. The concept of the project is set up immediately: Sleep and subconsciousness is something to be rescued from to a fuller life. “Fantasy,” with a haunting vocal bridge, is a solid handshake introduction to the life and times of the man behind the mic. This track is as good an example as any of the flexibility of this concept album. That term is played out and rarely is true of albums that bear the title, but “Wake Up” is the best example I’ve seen of it in a while. “Schizo / Hollow Dreams Interlude” is an intentionally creepy track, made so by the pensive key strokes by producer Street Symphony and a satisfying guest spot by Reach Record’s Tedashii. “Mirage” is equally daunting in its stripping of grandeur from the facade of the American dream. Swoope’s lyrical tip toeing in step with the echoing Wit-produced beat gives this song many layers that can only be peeled back on repeated listens.

With “Blind Eyes (The Good American),” a sonical and thematic response to Jay-Z and Kanye West’s ‘No Church in the Wild’ track, comes the perfect time to briefly touch on Swoope’s similarities to ‘Ye. To Swoope’s credit, he’ll quickly admit Yeezy as an influence while making clear in the same sentence that any apparent emulation isn’t intentional. He’s spoken in these pages that he worked hard to make sure this album wasn’t a carbon copy. I’m comfortable with acknowledging the similarities as long as it isn’t to the discredit of the multi-talented Swoope, who has stronger word play overall than his presumed twin. The track itself is excellent through label mate Christon Gray’s talent on the hook and an approach that is more of an examination of urban theology more than a bitter response to its attackers.

The album takes a turn in the storyline right around the point of “Dreamslave / Murder Me Prelude.” There’s a tension in the track as the character grapples with reality that a guest verse by Philly native Eshon Burgundy donates his lyrical two cents towards defining, much to the strength of the product. The two-finger salute to Heavy D and fallen comrade Sully G. will stick with you much longer than the record. The atmospheric segue ways that the preludes serve as, scattered throughout the project, are worth pointing out because of the cinematic level they bring to the listening experience. “Murder Me / Euglogy Interlude” is a piano-driven breaking point for our first-person character, while “Faith Walk” is a cut blessed by the cinematic production of Big Juice as the sleep that has, up to this point, been a metaphor for spiritual death begins to fade with the dawn. The DJ Official produced “Time / Lullaby Prelude” may win the prize for the most mind-bending track, as Swoope takes on two divine perspectives on the a.m. of every day.

Just like when one gets saved and can turn the things they once used for sin for the better good, “Lullaby” takes the concept of sleeping and flips it to the idea of sleeping in Christ. The guilt-free mellowness of this track, occasionally contradicted by scratching, is pleasantly addictive. But the grand finale is coming. I have a hard time getting into the production of “No Imposters,” but the bars laid down by all involved, including guests G. Skinn and Malachi, is smirk worthy, in the best way. “Aesthetic” is the most personalized kind of worship cut that never comes close to contrived or cliched. Christon Gray again takes control of the hook, with masterful results. “The Beautiful Rise” is a rallying march of synth and brief drum rolls that, along with the obvious excitement in Swoope’s vocal chords and a well-placed couple bars from fellow High Society member Sho Baraka, cue the epic conclusion of the Wake Up saga. Well, almost. “WLAK,” featuring Alex Faith, Sho Baraka and Christon Gray, while feeling at times like no more than a bonus cut because of how suitably ‘Rise’ wrapped up everything, is still a personal favorite. Sounds of horns and talk of reigning with Jesus in the future brings the mixed collection of emcees to a boil that brings the collection to a close.

The concept that Swoope has birthed on ‘Wake Up’ is simultaneously simple in description, complex in execution, expertly defined and proudly presented. The depth of this project will have you swimming for months and the sound of it will be an oxygen mask that you’ll want to retreat to when repetitiveness in hip-hop threatens to end your taste for it. We’ve got Christopher Nolan, the Wachowski brothers and now Allen Swoope. Don’t let this one slip under your radar.

This review originally appeared in Issue #2 of Rap-Port Magazine. Check out the full issue here.

Pre-order W.L.A.K. on iTunes - . https://itunes.apple.com/us/album/w.l.a.k./id596824964 …

On Deck: Alex Faith’s “Honest 2 God”

iamjaphialife: Westside Pharmacy (Album Cover & Tracklist)...

Mon, 15 Oct 2012 12:49:28 -0400

iamjaphialife:

Westside Pharmacy (Album Cover & Tracklist) Available on iTunes 11-20-12!!!

1. Japhia’s Lyric
    Prod by Jude “Tha Architect” Gavin & Japhia Life

2. Pitchfork
    Prod by J Rodgers

3. Last Night
    Prod by David James

4. Lifey’s Revenge f/ Tena Jones
    Prod by Eric “Tech” Humphrey for Creative Feed

5. Phone Call (Skit)
    Prod & Directed by Japhia Life

6. I’m A Mess
    Prod by Hot Handz

7. Cold Blood
    Prod by David James

8. Full Moon f/ David James
    Prod by David James

9. Hate (Skit) f/ REDZ
    Prod by J Rodgers

10. Dime f/ Rob Hodge
      Prod by Chase “Flow” Bradley for The Piece Committee

11. Pimp
      Prod by Trayz Beatz

12. Dealin’
      Prod y Trayz Beatz

13. Cloud
      Prod by J Rodgers

14. Letter to Lindsay
      Prod by J Rodgers Co-Prod by Japhia Life & Nate Coe

15. Small World
      Prod by Elvin “Wit” Shahbazian

16. The Exercise
      Prod by Luke Witherspoon III

17. The Realest
      Prod by Trayz Beatz

18. I Will Watch You
      Prod by Jude “The Architect” Gavin & Japhia Life

Most anticipated album of the year, personally.

A Theology of Christian Criticism

Wed, 19 Sep 2012 15:45:06 -0400

“It’s sad that some people are so convicted by the lyrical theology that they feel they have to bash an awesome album that has touched many people.”

“I think its funny that the poll to the right of this article asks ” Do you think Christian Hip hop is on the same level as mainstream?” This review is the reason why its far behind.”

”It seems more like you are working against the movement of pushing Christ’s message forward rather than encouraging others along the way…There’s a line between preferring a different sound over another and letting the devil use you with your word choice.”

All of the above are snippets from comments on reviews of albums by Christian hip-hop artists that received less than positive reviews over the past year. Just for context, the line where I’m accused of working alongside Satan was posted on a review of an album that was rated three out of five stars. It seems that in the unnecessarily segregated “Christian” music circle, particularly the hip-hop lounge that I spend most of my time in, that any form of critique, criticism or acknowledgment of blemish on a believer’s art is the second unforgivable sin that Jesus forget to make sure we got down on paper. For complete disclosure, know that these kind of comments don’t bother me and that this article, that’s been churning in my mind for years, really, isn’t a bitter response. If anything, I find it both hilarious and saddening. Even entertaining, to the point where I was tempted to give a one-star review to Lecrae’s “Gravity” just to watch the 116 Jihad (labeled perfectly by my dude JLarge) unleash their wrath on the comment boards. Maybe I’m immune to the ‘critique’ because it literally never has had to do with my writing style or skill. Just with my love for God, apparently.

The dissertation-deserving title is meant as more of a tongue-in-cheek reply to the out of context Scripture and refrigerator magnet wisdom thrown as a defense against constructive criticism than an exhaustive essay on the subject. The Sunday School reply to a differing, lower opinion of a song, album or artist is that we need to ‘encourage’ our brothers and sisters, a la Hebrews 3:13: “But encourage one another daily, as long as it is called “Today,” so that none of you may be hardened by sin’s deceitfulness.” A google search of a definition of encouragement is “the expression of approval and support.” In Hebrews, the encouragement called for is one of ‘support’ for holiness against sin’s possessiveness. Encouraging, in the comment boards, seems to be equal to flattery, since you’ll never get Jesus juked by handing out 5-Stars and retweets to everyone whose mentions Jesus a dozen times per song (Excluding repetitive choruses). Is it completely possible that encouraging a brother or sister could equal coming alongside them and saying that they really aren’t skilled at emceeing, but that their networking skills would fill a huge gap in the industry? Most would say absolutely. But then does not having a ‘positive’ alternative to add make the truthful first half less encouraging? Proverbs 28:23 wouldn’t seem to say so: ”Whoever rebukes a man will afterward find more favor than he who flatters with his tongue.” Never mind the fact that those who would preach encouraging our brothers and sisters in the same post usually do the exact opposite to the person whose opinions they are tearing to shreds and labeling irrelevant.

I’ll be the first to admit that reviewing “Christian” music (I hate the adjective, but use it out of necessity) has a couple different layers that can complicate criticism. The most notable one is that God can use anyone and anything to change lives and soften hearts to the messages the listener needs to hear, believe or adopt. So, when I say a song has a flimsy beat and elementary-level wordplay only to have someone hit me up saying how that track brought them to tears (And no, not because of how bad it was) and helped them grow closer in relationship to their God, the critic in me can shut up. A common misconception is that when a reviewer gives a one or two star label to a record, the writer wishes the artist ill. There’s long been a debate over the separation, or lack thereof, of the line between an artist as an entertainer and an artist as a person. The yawning gap between emcee on the mic and employee, parent or lover out of the booth has always been one lamented (“They call me ‘cause they know Swoope / But they don’t know Allen”), lauded (“Come at me on the internet / You’re pissing at the breeze / My ears are deaf to your words / That’s why I have a local church”) and lampooned (“If my music is literal / and I’m a criminal / how the f—- could I raise a little girl?”) by hip-hop artists. When I say I don’t like KJ-52, am I talking exclusively about the artist or am I casting my opinion about who Jonah Sorrentino is as a person? Out of context, can I call Kobe the best player in the league without supporting his past indiscretions? For me, there is a clear distinction and to assume otherwise would be ignorant on my part. But that adds another difficulty to the whole criticism machine: Relationship.

Proverbs 27:6 is another verse to back up the validity of honest critique of Christian art, but with extra emphasis on the relationship aspect: Faithful are the wounds of a friend, But deceitful are the kisses of an enemy. There’s the emphasis on the inherent difficulty of handing out critique for most everyone with a soul, especially in my context where most of the time I know the artist will be reading my thoughts on their work (Because of the platform I’ve been blessed with and the junior size of our quickly expanding genre much more than any popularity I may imagine I have). It probably won’t come across in the tone of my reviews, but dealing out critique, especially when it is more negative than positive, doesn’t flow easily from my keyboard. I’ve become much more sensitive to the heart beating behind the studio microphone in the past couples months. Still, my priority in reviewing is top-shelf hip-hop, so I’ll always let you know where your product ranks on the scale. For the record, the majority of artists that I’ve interacted with after a review, in particular the average to negative write ups, are very welcoming of the critique and open to more conversation. It feels unnecessary to say, but without critique and criticism, no one would improve and the wisest artists live that truth.

In conclusion, some encouragements. Christian artists, not everyone who doesn’t label you the next Lecrae is a hater and wants to see your ministry or art fail. Take every dose of criticism under consideration. On the other hand, have some confidence in the vision you have for your art and don’t change just because a couple vocal people challenge that vision. It’s a fine line that I’m glad I don’t have to walk. Respect to all of you who do. Critics (Professional or otherwise), in the midst of evaluating other’s art, let’s always leave them room to get out of the corner our criticism can pin them into. Don’t just critique, but encourage by giving suggestions to improve the areas that brought them a low rating. This is huge in our niche of the hip-hop world. Abraham Lincoln said “He has a right to criticize who has a heart to help.” If you review an artist’s discography through it’s entire lifetime, criticize at every corner, yet never suggest how they could improve, in some ways you’re just as guilty. Fans, create dialogue with your agreements & disagreements on message boards and comments. Personally, I love the back and forth, as long as there’s respect on both sides. A music review never hindered the Gospel, so don’t go all William Wallace on someone whose ears are tuned differently. Illumanti, get some better P.R.

This record is tough ddartservice: propaganda x sho baraka | I...

Fri, 07 Sep 2012 03:21:36 -0400

This record is tough

ddartservice:

propaganda x sho baraka | I ain’t got an answer

Had the honor to review Lecrae’s “Gravity” for...

Thu, 06 Sep 2012 19:12:06 -0400

Had the honor to review Lecrae’s “Gravity” for Dasouth.com. Click through the album cover to check it out.

I get asked once in a while what the title of the blog means....

Wed, 25 Jul 2012 20:22:05 -0400

I get asked once in a while what the title of the blog means. It’s inspired by the chorus of Lupe Fiasco’s “Words I Never Said” and Skylar Gray’s smoky hook that laments about the thoughts, opinions and beliefs that one is convinced of but never expresses. It’s a pain I can relate to and thus why I titled my blog the opposite. While probably not grammatically correct, these are the words I did say that evolved from the ones I didn’t. Stay tuned for more.

Thoughts on The Dark Knight Rises

Sat, 21 Jul 2012 10:47:00 -0400

“You ever felt something you couldn’t explain? No definition? No name? Just a feeling. No definition, no name.”

Walking out of the multiplex after The Dark Knight Rises wasn’t the experience I would’ve bet you that it would have been three hours before. I would’ve imagined I’d have a satisfied grin on my face and childish exclamations about how official the flick was. Instead, what I walked out with, was a puzzling sense of ambiguity about what exactly I felt about Christopher Nolan’s concluding Batman motion picture.

It wasn’t disappointment…and it wasn’t quite sadness that my favorite film series by my favorite director had wrapped up. It was a frustration, I think, felt by many of my peers as we left our seats. There was genuine applause that was strong, but not holistic at the film’s bombastic closing and there wasn’t as much of the usual exclamations on the mile-walk back to our cars at the end of the packed parking lot. All quite contrary to the raving reports I’d seen up to that point.

But we’re talking more emotions than quality here, so don’t let these ramblings give you the impression that The Dark Knight Rises was lacking as a film in and of itself in any way. It’s high quality on the same level as every other film in Nolan’s canon, if not as emotionally satisfying as others. “Rises” is much more Batman Begins than The Dark Knight, an issue we’ll hit later. Christian Bale embodies his character’s soul much more deeper than he ever has while wearing a cape. Anne Hathaway does suitably as Selina Kyle/Catwoman and I’m legitimately hoping she gets her own movie and the fleshing out that her character deserves. Tom Hardy turns in a strong performance as Bane, which is pretty remarkable considering the disconnect that the mask brought to the character (Just for the record, I was really hoping we’d get to see Bane maskless, a la Darth Vader, at some point). And Christopher Nolan is officially my generation’s Alfred Hitchcock. This comparison doesn’t come from a similarity in film style (Although when Batman is only illuminated by gunfire before taking down a thug? Sick. And very much Hitchcockian). It instead comes from attraction to details, the love of tinkering with minds and a bounty of other intangibles that run deeper than Norman Bates or Bruce Wayne. There’s a point to which I almost feel no need to testify of the high breed of product the postmodern director, seasoned acting crew and ballsy effects crew composed. If you doubt that to be the case, take this as your reassurance.

The elephant in the air-conditioned theater is The Dark Knight, the pinnacle of the Super Hero movie genre and birth tank of the best villain to flood a projector. The number of levels up that Nolan and crew ascended from Batman Begins to its sequel was monumental. And that is no attack on the origin story, simply testimony to the physical, mental and psychological strength of The Dark Knight. So the theory that since Dark Knight surpassed Begins in such an astonishing way, Rises should do the same over the second film was something that I didn’t challenge. And it’s there that I believe, and others who struggle with mixed feelings over Rises, we may find the root of the problem. Comparing The Dark Knight to The Dark Knight Rises, while more feasible, is as pointless as comparing this film to The Avengers. You can’t compare Bane and Heath Ledger’s Joker, because it won’t give either of them the credit they deserve. While potentially as menacing, Bane is not as multi-dimensional as Joker. This is fact, not fault. But only Bane could’ve done to Batman what was necessary to make this film as apocalyptic as it is. Comparisons and contrasts will rage on in discussions for years, a witness to the magnitude of Nolan’s vision for the deep well of the Batman legend.

As a critic, I’m always exhorting artists of any medium to birth new and different creations than what’s been done previously. With The Dark Knight Rises, however, I think my muddled opinions come from not wanting something new and different. I wanted another Dark Knight. More than that, I wanted a deeper, stronger version of my favorite movie. If you ask me what exactly that means, I’ll admit I can’t give you an answer but it’s what I subconsciously wanted from Rises and, as a result, what I was expecting. But Dark Knight Rises is not its predecessor. And I need to see it again, understanding that, to truly digest what Nolan’s team has done here. But they have done something. Something that is larger in scope than a simple Super Hero trilogy. The landscape has been altered again, the start of a DC universe that can challenge Marvel may be in the strategic works and we are left with a trilogy, that satisfies like no other has ever done. My first reaction is to say I wish Nolan would make Batman films for the rest of his career, but deep down there is the undeniable sense that it must end here. And what an exhilarating, conflicting, bittersweet end it is.

ballershots: Kobe: I’m really glad we decided to take this...

Tue, 19 Jun 2012 20:36:05 -0400

ballershots:

Kobe: I’m really glad we decided to take this photo, Shaq. This will truly be a timeless image.

Shaq: After we’ve won our 14th consecutive championship with one another, we’ll look back and realize that our friendship is as timeless as these totally not ridiculous leather jackets.

Kobe: I concur with all of those statements!

[Editor’s note: :’( ]

Wit and Dre Murray - Hell's Paradise II: The Mask Parade

Sat, 02 Jun 2012 17:16:00 -0400

I think what Wit and Dre Murray, producer-rapper duo, respectively, have accomplished in no less than two albums is worthy of the title franchise. Which is quite a feat when you consider that there two Hell’s Paradise albums are ‘nothing’ more than a smattering of lyrical and sonical windows into varied residents of the harsh, dank apartment complex of life that is something you’d expect Norman Bates to reside in from the outside in. But when you’re on the inside looking out, you try to make it as homely as you can. The first installment dropped all the way back in 2009. It was one of those albums that you look back and think “Did I really just got that for free?” (The deluxe edition can still be had for free here) Then, starting in fall of 2011, a trio of audio episodes dropped monthly that made up Hell’s Paradise 2: Mask Parade, with a promise of a concluding fourth episode. We didn’t hear much about it for a while until the entire second collection dropped seemingly sporadically this past Thursday, including the anticipated Episode 4. Read on for your TV Guide overview of what is already the top runner for album of 2012….

“It’s a marathon that can leave you jaded…some love it, some hate it…..this Life is Komplicated”

Episode 1: Life is Komplicated is personally my favorite off the project, although the newest chapter threatens to take that throne with repeated plays. Komplicated is like the opening scene of a blockbuster sequel: You know it’s going to start out with firepower that rivals all that the entire prequel contained and you know it is seeking to wow you, so the thumping music, polished effects and slick camera angles don’t surprise you. But you still love it and have a stupid grin on your face as the title flashes on the screen anyway. That’s what the re-introduction to the world of Hell’s Paradise does here. It’s a grab bag of life stories that welcome the listener in and assure them that these are the same creators that led you safely through hell last time around. Whether it’s the bittersweet nostalgia of “I Miss You” with a transcendent Kelly Kelz hook, the pseudo-sequel of “Spazzing Out” that is almost awkward in its unflinching lyrical starkness or episode fadeout “Komplicated,” where Wit steps out from behind the board to breathe identifiable bars that make you wish you heard more from him throughout The Mask Parade, those familiar with this universe will feel right at psychological home.

“And no matter where you turn it’s the same old song…where your rights are wrong…Welcome Home…”

Just like staying glued to your seat to run back the film that just succeeded in separating your jaw and your upper lip and pushing the play button right away, Episode 2: Welcome Home is a patient transition piece as it slowly puts skin on a specific character in the Hell’s Paradise universe. But you don’t really know that until the threating “Dark Knight Rises” gives way to another masterful Eshon Burgundy interlude. In running it back you’ll find bread crumbs scattered on the jagged trail. Until then, you experience a little southern smoke via “Welcome to H-Town II” (The best version out of the triplets, thanks largely to Shei Atkins 2nd half performance) and the antidepressant pill of “Switch Me Up,” made non-drowsy with a killer Swoope verse.

“There is one thing that I know that is for sure….my future is not bright…all wrong, no right….all dark, no light….Goodnight”

There is no darker chapter in Hell’s Paradise II than Episode 3: Goodnight Mr. Hood. Instead of viewing ghetto life and hearing it’s justifications in the midst of the actions, we get an entire character portrait. Wit’s beats haunt with ghostly samples and instrumentals that have no problem wavering in the air with no soul speaking over them. The foggy “Goodnight” is a classic in this universe, with Rigz and Wize sighing bars that would depress if not for the dankness of the next tracks. “HP 2.5” is Dre at his best, lyircally (This side of Episode 4) as he exposits the darkest doubts of the most troubled hearts. And just because the ending of the character saga may not shock you in “Clive Lee Hood” doesn’t mean it’s not stirring.

“You think these are fairy tales…make believe…and I am simply a Psycho…but no…”

There’s a more clear cut distinction as Eshon wearily steps up on his soapbox in Episode 4: Psycho from previous episodes. While Dre almost always has spoken in first person, you get the uncanny feeling that these concluding tracks are much more autobiographical than simple people watching. The groggy “Psycho” is as good a breakdown of Dre’s alien status as a result of salvation as any I’ve heard from another artist and the playful wordplay reminds you that there is a heart beating behind this master storyteller (I never would’ve thought anyone could get away with joking about abducting their producer since Em, but Murray easily does here). The addictive sampling on “The Help” add to the infection that Dre’s double-timed rhymes originate while “LOL Nevermind” is the softest rebuke you’ve ever heard, where Dre shakes hands with the same hand that slapped Wit and him. “Don’t Misunderstand” is chilling, thanks to the hurt innocence of the B. Reith crooned hook over a key-driven beat recipe and more of Dre’s heart in lyrics that you wonder if he ever plans on running out of. And while we may not know whether album finale “The Day” is simply the season finale or series conclusion, it does it transcendent best as a last will and testament of the past 75 minutes of music. It isn’t a cliched sitcom ending where everything is wrapped up nicely but it is an elevation above ‘paradise’ that gives a more divine perspective than any finite being deserves. It’s a bittersweet ending, but a satisfying one nonetheless.

It isn’t enough to talk about what Wit’s music sounds like throughout the project or simply quote Dre’s most clever lines as testimony to the concept of Hell’s Paradise’s second installment. Like the hardest experience in your life, you reach a point where you stop trying to explain it to people because no matter how detailed your explanation or description, unless they went through it, they just won’t understand. Lucky for you, The Mask Parade available for free (Someone needs to check to make sure that Wit and Dre know that they can charge for this stuff) right here for your own personal Hell’s Paradise experience.

Music Videos

Thu, 17 May 2012 09:51:32 -0400

I used to love music videos. When I heard that a song that I loved had an accompanying video, I’d go crazy and sit in front of the fam’s Gateway computer and wait 5-10 minutes for the video to load on our dial-up internet, hoping and praying that a call wouldn’t come through on our internet voice mail that would make all the waiting I’d just done obsolete.

So, I’m not that old. And I still love music videos. But I feel more often than not that the video offerings nowadays rarely add anything to the song. You need more than just a variety of ghetto or flashing backgrounds and your face in front of the camera to give me a deeper layer of meaning to your song.

All that to say, I was pleasantly surprised in the past couple weeks to find two music videos that made me appreciate the tracks even more.

There’s a perfect balance of story and facial emotion in this “Love Lost” video from Wize. More importantly, it gives you a visual reel to play in your head as you listen to it offline. It accomplishes its goal: It made me appreciate the song even more.

What amazes here in the video for “Fallin,” one of the few tracks I dug off of Trip Lee’s latest project, is the quality of the animation. This video wouldn’t have been possible just two or three years ago, at least by the Reach Records crew, and the fresh air of it makes you want to remember where you first smelled the scent.

What are other recent music videos that have made you enjoy the song more, or are just straight entertaining to watch?

Yaves - History In Progress Review on Dasouth.com

Tue, 15 May 2012 10:26:56 -0400

Yaves - History In Progress Review on Dasouth.com

“A lot of people don’t ask people of other...

Mon, 14 May 2012 13:39:40 -0400

“A lot of people don’t ask people of other professions to say alright are you a ‘christian’ NBA basketball player or a ‘christian’ tax collector….So personally I just say I’m a rapper.”

Listen in as Kambino talks about the response to his “Decision” mixtape, Ohio’s hip-hop scene and where he lands on the ‘Christian rapper vs. rapper who is a Christian’ debate

Dasouth.com picked up my article “5 Reasons People are...

Tue, 08 May 2012 21:18:03 -0400

Dasouth.com picked up my article “5 Reasons People are Afraid of Lecrae’s ‘Church Clothes’” from this blog. Shoutout to Kellus for passing it along. Real grateful for the opportunity. Support your boy by reading it (again?) and spreading the word. Click on the album cover to get there.