binaural beats headphones a master class in music
HomenewsHeadlinesAstro Bob blog: Juno Shows Jupiter’s Amazing Storms in a New LightBygones for March 8, 2018City to remove snow in West DuluthMinn. News and World Report saysPets of the week for Feb. 27, 2018Mentor Duluth for Feb. 25, 2018″Compton,” the new album from Dr. He harnesses his ear for talent he helped bring us Snoop Dogg, Eminem, 50 Cent and others, after all to introduce new voices, including Anderson Paak, King Mez and Justus. If history is any guide, each will get a Dre bounce. Inextricably linked with gang culture, police violence and the 1992 Los Angeles riots, the band’s crucial early work changed the direction of hip hop while documenting a township both furious and desperate. On “Medicine Man,” the rapper indicts contemporary culture, decrying in one quick verse Internet addiction, underpaid teachers, hip hop fakers, fame, government databases, teenage girls acting like they’re 22, grown men who act like boys and money leeches. Dre warns away copy cats. “Would you look over Picasso’s shoulder and tell him about his brushstrokes? Those opinions, I don’t trust those.”Dre, though, understands the deal, and for reasons both artistic and savvy, he works to stay away from seeming like a “kids these days” grandpa. He does so by ceding to talented upstarts. Most notable is Ventura County artist Paak, who appears on a number of “Compton” tracks. He’s especially potent in “Animals,” on which he and Dre address media invisibility and institutional racism over a crawling DJ Premier co produced track. “The police don’t come around these parts they tell me we’re a bunch of animals,” sings Paak. “The only time they wanna turn the cameras on is when we’re . up, come on.”For his part, fellow Compton rapper Lamar, whose recent album “To Pimp a Butterfly” served as another reminder of the Compton talent pool, confirms his import and skills on three tracks. Eminem honors his mentor on “Medicine Man” and rapper actor Xzibit shines on “Loose Cannons.” Snoop, whose essential early work was produced by Dre, stars in the throwback grooved “Satisfiction”; with creepy voices echoing in the background and a weird beat, the former Dre protege delivers what he calls “another lesson from your Uncle Snoop, what what what.”Such lessons, both musical and lyrical, are all over “Compton,” but equally impressive was the album’s arrival. Keenly marketed to promote both the album and Apple Music’s new platform, “Compton” glided into Dr. Dre fans’ ears with the skill of an expert surfer riding a smooth wave. It was announced suddenly, never leaked and arrived on time as promised,
quite literally the complete package. It’s also, at least for the time being, an exclusive to Apple Music, which means that Dre is generating cross platform attention. Below is a primer on some of the less known voices that inhabit Dr. Dre’s new album:BJ the Chicago Kid. Project” and the 2012 independent album “Pineapple Now Laters.” The magnetic singer did a searing performance at Mack Sennett Studios earlier in the year, teasing new tracks and confirming the buzz. Young Michigan rapper Connor is signed to Dre’s Aftermath Records, and has been working on his debut album. A 2014 recipient of XXL’s annual “freshman class” list of rising rappers, Connor is on a couple of “Compton” tracks. He’s most impressive on the insistent Dre produced “One Shot One Kill,” where he injects hot energy alongside Snoop. Producer and lyricist Dwayne “Dem Jointz” Abernathy is known for his production work for Rihanna, Christina Aguilera and Brandy. He earns production credits for four “Compton” tracks “Genocide,” “Deep Water,” “Satisfaction” and “Medicine Man” and proves himself as an adept rapper alongside Ice Cube on “Issues.”Justus. The rapper born Justin Mohrle should get a huge bump from his work with Dre here. The artist came up in Dallas, but has relocated to Los Angeles to work with Dr. Dre on his debut album. North Carolina upstart rapper Mez has dropped a few acclaimed mixtapes including his most recent, “Long Live the King,” but he’ll likely get a huge boost from his verses on “Compton,” which arrive during “Darkside/Gone,” “Satisfiction” and “Talk About It.”Anderson Paak. Ventura County raised singer Paak is all over “Compton,” so much so that a few days ago the relative unknown posted a tweet that suggested vindication. “Oh they wanna take meetings now,” he wrote of the so called Dr. Dre bump. South African singer rapper Candice Pillay is known for co writing Rihanna’s “American Oxygen,” and released her debut album in January. For “Compton,” Dre recruited her and her striking delivery to work on tracks “Genocide” and “Medicine Man.”Dre’s “Compton,” his first album since 1999, offered a different kind of entertainment but sparked just as much buzz on social media by a devoted following that stretches from teens to fiftysomethings.
For their patience, the artist born Andre Young, now 50, has delivered what is for all intents a hip hop concept album. It’s an often tense musical indictment that tackles the challenges facing both his hometown and America, gazing back with equal parts nostalgia, wonder, frustration and indignation while luminous beats reinforce the arguments.
The album also displays Dre’s versatility across music, business and culture. He harnesses his ear for talent he helped bring us Snoop Dogg, Eminem, 50 Cent and others, after all to introduce new voices, including Anderson Paak, King Mez and Justus. If history is any guide, each will get a Dre bounce.
But first, the album opens with an introduction.
“Compton was the American dream,” explains an even toned voice, sounding like a Chamber of Commerce professional who describes homes with “a palm tree in the frontyard, the camper, the boat.”
“Temptingly close to the Los Angeles ghetto in the ’50s and ’60s, it became ‘the Black American Dream,'” says the narrator, who then describes the city’s descent and stagnation.