VIDEO: Copywrite’s “Philophobia”

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Are Copywrite anywhere close to being similar to a copyright? I’d like to assume no, for they are their own being and what you’re seeing is the group in all of their glory. They’re about to become more glorious when they drop an album on August 11th called A Heart Of Glass but for now, check out the first single from it called “Philophobia”, directed by Kris Vanston.

REVIEW: Copywrite’s “Carbon Copy’s Phony Art Pub Scam”

 photo CopywriteCCP_cover_zps4b31f3d4.jpg With a cast of characters that include Madlib, Dilla, Kurt Cobain, MF DOOM, Big Pun, Eminem, 2Pac, and Bill Murray, Copywrite has taken the guts of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and turned it into an album for the ages, or at least for early 2013 hip-hop consumption. Carbon Copy’s Phony Art Pub Scam (Man Bites Dog) has him rhyming over new mixes of Sgt. Pepper songs, originating from multitracks that were extracted from the Rock Bandâ„¢ video game and have been circulating online. The end result is quite awesome in a number of ways. If you are a fan of Copywrite, you’ll love the style and lyrics that he shares here. If you are a hip-hop head who also loves The Beatles, you’ll also love how some of these tracks were mixed to benefit Copywrite, and in a number of spots, how Copywrite utilizes the song.

The themes of the songs show off what Copywrite has been known for, so fans will not be let down by this. As a diehard Beatles fan who knows their music inside and out, backwards and underwater, I also liked it when he would add references to The Beatles within the song. Purists might question some of it, as he steps out of the Sgt. Pepper era to make a point, sometimes not even mentioning the Beatles core at all. In fact, he makes a Mark David Chapman reference that might irk some listeners but for me, it was an “oh shit” moment that worked.

Copywrite goes back and forth between doing rhymes over the manipulated Beatles tracks and singing the melodies of the original songs, but with new lyrics. As someone who knows the originals by heart, there were times when I found myself caught in the new mixes and thinking of The Beatles lyrics and not what Copywrite was saying, so I had to go back and listen to it again. In “I Love Lucy”, which takes apart “Lucy In The Sky With Diamonds”, he’ll rhyme over the 3/4 Mellotron portion but not when the song goes into 4/4. That is replaced by a festival scenario of sounds, complete with Beastie Boys samples. The only song he doesn’t directly rhyme over is “Within You Without You”, which is turned into “Sitar Happens”. Instead, the Beatles original is chopped up and becomes a mere sample, and I would have loved it if he rhymed over the 24/4 and 5/4 time signatures but no luck here. There are also portions of these songs that, if I was the producer, I would have had him rhyme over certain parts for incredible emphasis, such as the carnival whistles at the end of “Being For The Benefit Of Mr. Kite” (from 1:56 until the end), or the funky groove at the end of “Lovely Rita” from 2:13 until the end, with the incredible bass line and bluesy piano groove from Paul McCartney (presented here as “Read A”). I also think it would have been interesting if he rhymed over the orchestral build-ups in “A Day In The Life”, for while that is considered the holy grail of Beatles songs, I figured if he’s already messing with The Beatles, why not go all the day. However, he does rhyme over the first part of Paul’s portion of the song, and that is done quite nicely. A nice added touch was the recreation of “Sgt. Pepper’s Inner Groove”, sans dog whistle.

I will put Carbon Copy’s Phony Art Pub Scam up there with Dangermouse’s The Grey Album, especially since he actually went inside of the original songs and created an underground gem, which also acknowledges the breakthroughs in modern technology, since without Rock Band and fans knowing how to extract its audio, these songs would not exist in the quality they are presented here. Copywrite, showing how he fucks and creates tracks like Superman.

VIDEO: Cas Metah & Wonder Brown featuring Copywrite & Elias”Drowning Man”

Find some elements, combine them and see what happens. That’s what happened here with Cas Metah & Wonder Brown, who put together “Drowning Man” with producer J. Rawls and got Copywrite and Elias into the mix. For the video, Wes Pendleton directed it and added his visual expertise to compliment the music.

The track is from Cas Metah & Wonder Brown’s collaborative album, The Darke Bros. (Illect), which is available now.

REVIEW: Creed Chamelon’s “The Vanishing Act” (mixtape)

Photobucket There’s a word that Creed Chameleon says on this album, one of many, that I can use to describe his music: heart. Some will say that a lot of today’s hip-hop has a lot of heart, but I will tell you: it doesn’t. Give me something with heart and soul, and what you’re doing is giving everyone a part of your time and effort, but your talent. I don’t care who you are, where you’re from, or whatever: give me that in multiples and you will be able to pull it off.

I’ve been a fan of Creed Chameleon for awhile and I will admit, a part of it has to do with him being from Hawai’i. I don’t want anyone to think “oh, local pride, he’s going to gloat over this guy, let me go elsewhere”, that’s not the case here. There’s a part of that local pride, whether you’re from there, living there, or had to move. Creed now resides in Arizona but that does not and will not change my views on his music. Of course the reader is probably saying “you already went through two paragraphs in this review without mentioning a damn thing about the music, except that it has heart. You need to tell me why” and if you made it this far, then here you go.

The Vanishing Act may or may not be Creed’s sly way of saying he pulled one in his move from Hawai’i to Arizona, or maybe it has to do with his approach to the music, or maybe it has nothing to do with anything. It’s an assumption. But what I do not assume is what I hear here and what I’ve heard from him over the years. Creed is someone who applies a level of knowledge and skill into his music, never going beyond his capabilities nor does he try to add a bit of “extra” for the sake of doing so. He could, but what he does is him, this is his style. What I like is his storytelling, I could use a word like “poet” but anyone who writes and rhymes well doesn’t have to be a poet, even though he’s poetic. He reveals a bit of vulnerability in “Unforgiven”, driven with a Metallica song that pushes the point even further, but he shows that he’s not a machine but very much human, with the same kind of emotions that isn’t above hip-hop.

There are so many highlights on this mixtape, and let me say this before I continue. When one mentions that it’s a “mixtape”, it technically means it’s not a proper album even though the material here is just as good as a proper album. Consider this a sampling of what Creed can do and does, but instead of creating a mess of songs under a one project umbrella, it’s simply a collection of songs that feel and sound good. His work with producer/MC Osna are a highlight, including the Kanye West chipmunk funk of “So Far”, “In Life’s Summary”, and the smoothed out “Special Smile”, where Creed speaks about making music without limits, even though the means of obtaining music was not as free (figuratively and literally) as it might be today. When he brings on Mic Phenom from Seattle and the incredible Tassho Pearce into the scene, you are hearing some of the best hip-hop this year, as they take it on like superfriends and just deliver.

It’s hard to say which are the best songs, because the whole thing is just sharp, with little that I could call filler. The main man Trek Life rips shit up with Creed in “9 To 5”, as they share their opinions about putting their time in to make things work, as DJ Packo delivers some fierce scratches. This could easily be a hit song if it was pushed this way. Need another reason to hear this? DJ Babu handles the production in “Sarah”, and it’ll be a track that’ll make you stop in your tracks, lift up your hand, and celebrate.

Before I wrote this review, I had made a post on Twitter on how I felt two songs on The Vanishing Point reminded me of the chemistry shared between Method Man and Redman. I made this comparison to the two songs on the album where Creed brings in Prie. I’m a huge fan of Prie, and while both have unique styles on their own, together they come off like a team who are united. After I made the post and it was RT’d, someone was irked and felt that all comparisons were a bit foolish. Now, even when I said that my comparison does not suggest that Creed and Prie sounded anything like Meth or Redman, the reply I had was more or less “eh, same thing”. My thought was “aah, but my comparison was a lure towards you to respond, didn’t it?” That’s what my suggestion is about. There is something about a 2-man team in hip-hop that works, or a 3-man, 4-man, an egoless team that focuses on the word “teamwork”. Yes, you’re going to throw in your all to make you sound good, but for the same of team work, you’re going to make it work, and that’s what these two do in “The World Is Cold” and “Still In Love”, and I’m thinking yes: less ego, more of an emphasis on making damn good music.

On top of that, some fine production from Bad News, Guidebook, and Maineframe, and Osna’s work on this continues to impress. If Creed and Osna ever work together on a full project, even a 5-song EP, it could be ridiculous. My point in saying this is that regardless of who he works with, Creed shows he has heart not only in how he writes and how he performs, but how he brings that on with who he works with to help him make these songs. You want some hot quotes from lines or verses, nah, go listen to it yourself. It’s free, but allow his music to be a lure towards you wanting to hear more. Make an effort, and Creed will too, although he does this by default because it’s from the heart.

(The Vanishing Act can be downloaded for free by heading to

REVIEW: Copywrite “The Life And Times Of Peter Nelson”

Photobucket As hip-hop changes and evolves, there has been an increased attack at MC’s who put too much emotion into their lyrics and music. Apparently it’s okay to be faceless and brainless and create music that’s emotionless, and i think wow, when in the world did we become automatons who can’t think for ourselves? It’s as if people are ready to support Sarah Palin and create music for and approved by her. No.

Now, I look at Copywrite new album, The Life And Times Of Peter Nelson, and while the cover photo is not my own, I can relate to it. It goes back to simpler times when the only thing we were concerned about was if dad was going to come home from work, if I did my homework on time so I could watch a TV show or two before I went to sleep, and have a good meal. There were no adult concerns, no reason to grow up just yet, all of us wanted to take our time in enjoying childhood even though it was simply life, not a part of our past just yet. What Copywrite does with this album, represented by a cover photo of his youth, is explain everything in a realistic yet simplified matter of life as we and he knows it, building up to a song that is based on his eternal love for the woman who made him, who is no longer alive. The song reflects on what we may not have acknowledged before, but now that they’re gone, we can only reflect on what was and the good we learned from it. Then with a track like “Bored”, he taps into the online fanaticism that exists within hip-hop circles and other communities, where it seems one wants to outdo the other without thought. Listening to it, you may be reminded that you are that troll he raps about. Along with Camu Tao, the mock the wonders of the club mentality with “Rob The Club” and proceed to hold everyone inside as hostages.

The Life And Times Of Peter Nelson is a solid album that represents the man that is Copywrite, and by tapping into his past and present, his future definitely looks bright, both musically and personally.