
(Click album back art to download the mixtape for FREE.)
Track DescriptionsTrack 01 – Luke 18 (Remix) Time: 2:36 The mixtape commences with a slower…mellower feel to it, occupying the instrumental featured on Wayne’s “I Know the Future.” It establishes the artists’ underlying eagerness to make music, better yet—“good” music—but implies the importance of “listening closely” to the lyrics in hunt to understand a far deeper reasoning for its origin. In fact, the inspiration to write this piece arose from a short eleven minute and eighteen second conversation, followed by the reading of an arbitrary biblical passage, particularly Luke 18, which the artist felt was initialized by a more powerful energy surrounding him. In short, it captures the mood of the phone call and the artists’ thoughts shortly thereafter—a philosophical moment, per say…
Track 02 – Who Shot Ya’ (Remix) Time: 3:33 For those who are fans of one who many believe is the greatest hip-hop artist of all time, Notorious B.I.G. (also known as “Biggie”), this track immediately determines whether a confident artist is true to his musical craft and, more importantly, if their music is worth listening to. The choice of production is a classic, and the artist invites you to critique his lyrical ability in comparison to the quality of pure hip-hop music in its prime, symbolized by the old school aura. The low, original female sample is used intelligently to describe the sexual orientation of the instrumental and the artists’ relationship to her, an indicator that music is a rather intimate subject matter for the musician, not limited by the existing mainstream stereotypes that exist today.
Track 03 – Hero (Remix) Time: 4:08 This track features the instrumental used on the song “Hero” produced by Polow Da Don from Nas’ latest album released in 2008. First impressions will lead the everyday listener to notice that it’s a choice that even an intermediate level artist should not attempt to subdue. From an artistic perspective, it creates a very intellectual mood and initiates a rather enlightening state of mind. The artist uses this concept to his advantage, blending an unorthodox writing style with an original musical flow. He delves into the center of his subliminal mind, touching on a variety of subjects including his status as a hip-hop artist as well as recent life-changing developments. It is also the artists’ second opportunity to showcase the poetic aspect of music that many musicians fail to recognize, and thus setting the bar for the remainder of the mixtape.
Track 04 – A MILLI (Remix) Time: 3:00 The sudden sound of helicopter propellers takes this track on a very mysterious path. However, most listeners will begin to recognize one of 2008’s most unique productions, Lil’ Wayne’s “A MILLI” produced by Bangladesh. There are arrays of similar remixes permeating the Internet, and still the artist manages to separate himself from the crowd by adapting a flow as contagious to the ear as otitis. Complimented by his usage of extremely eccentric metaphors and intellectual wordplay, this remix reproduces the strange energy that arose last year when the original version was first released.
Track 05 – Bye Haters “He Killed It” (Remix) Time: 3:44 The artist Maino, currently signed to Atlantic Records, debuted in 2008 with his single, “Hi Hater.” On the other hand, the artist Kid Psalm has decided to release a mixtape as his debut compilation and say a kind “Goodbye” to his haters, whoever they may be. Consistent with his previous remixes, he does not fall victim to the most common mistake that musicians make while developing a remix to a song: biting the same exact flow. He continues to show his humble nature by first acknowledging the artist featured on the original sound, followed by his personal musical genius. This is also a great example of how the artist paints a very colorful portrait of his life experiences while maintaining the mainstream edge that influences fans to purchase and enjoy music.
Track 06 – Heartless (Remix) Time: 1:51 The mixtape experiences a dramatic mood swing as the instrumental for Kanye West’s second single “Heartless” (from the album “808s and Heartbreak”) begins to play. The beat was recreated by producer “Wattzbeatz,” thus special thanks to him for his contributions to this track in particular. This one is slightly different compared to the other features; here the artist shows a sorrowful, emotional side of his personality, and it appears that he is grieving about familiar past moments in his life. He expresses himself so deeply on the instrumental, as if he is perfectly in tune with the sound, that his words alone capture the emotion articulated first by Mr. West. The flow design also remains unique and true.
Track 07 – Never Let Me Down (Remix) Time: 5:31 The artist compliments the previous track with one of Kanye’s old school productions, “Never Let Me Down” from his debut album “College Dropout.” It retains the mood of it’s former and continues to explain the complex personal story of an intimate relationship between him and a significant other. This track has a very unique design to it, and the artist skillfully structures his flow within, making use of the outstanding high-pitched sample. A closer look into the lyrics portrays an artist who considers music much more than a mere hobby, but rather a literal part of him and his existence. It also reveals the poetic phase of writing that preceded his career in the music industry, engaging listeners and allowing people to get in touch with their “real”, inner emotions.
Track 08 – Lollipop (Remix) Time: 3:49 Possibly the most questionable and controversial track on the compilation, the artist attempts to use an incredibly mainstream instrumental in a way that has never been used before…while free styling, or lyrical improvisation. The choice of production will be immediately recognized by most music fans: Wayne’s single “Lollipop” from his sixth release “Tha Carter III.” Since the beat itself symbolizes the clichéd radio hit, many people may think that this track assumes the same. Nevertheless, the lyrics paint a warm portrait of several relationships in the artists’ life, such as his connection to the suburbs of New Jersey, memories of specific female acquaintances, and those who have little faith in his music—the haters. There is a sudden breakdown near the middle of the track where the artist mimics the hook from Bow Wow & Soulja Boy’s “Marco Polo,” an act of comic relief to mock the theme of the commercial original.
Track 09 – Dope Boys (Remix) Time: 3:19 This is the first track where the artist presents a West coast style sound to his audience, featuring the instrumental from Game’s single “Dope Boys” from his third album “LAX.” The drum pattern in the beat was played by the drummer for Blink-182, Travis Barker. Coincidentally, Travis Barker was involved in a fatal plane crash around the same time the artist was working on this track for the compilation, thus it commences with related shout outs and condolences to those who lost their lives during the incident. The track discusses the artists’ eagerness to play a major role in the music that people today and future generations will be listening to as oppose to resorting to the alternate survival tactics that the streets have to offer and expands upon his ability to organize similes and various metaphorical concepts.
Track 10 – Mr. Me Too Pt. 2 (Remix) Time: 2:52 The artist further defines the meaning of versatility by using the instrumental on Clipses’ song “Mr. Me Too” on their sophomore album “Hell Hath No Fury,” produced by Pharell of The Neptunes. Originally part of a previous unfinished mixtape, the track demonstrates exceptional written materials and shows a stage of evolution in the artists’ career. Unlike the other songs on the collection, it lacks personal connections to the music and focuses on technicality instead.
Track 11 – I’m Illy (Remix) Time: 2:42 Many “true” hip-hop music fans will claim that this choice of production is inefficient, due to its simplicity and repetitiveness. However, the artist believes that inspiration can be found in the simplest of sounds and still create an atmosphere for good music. In addition, it is clear that the artist also feels that a good musician should not depend on the quality of the instrumental to produce a good overall sound; one’s lyrics should also be challenged to adjust to the changes in production and coordinate fitting lyrics. A great example of how the artist uses the power of his words to compensate for listeners who hold unsophisticated musical sequences in low esteem.
Track 12 – Day N’ Nite (Remix) Time: 3:48 The most inspirational piece as well as the last song developed for the compilation, this track features Kid Cudi’s “Day N’ Nite” instrumental produced by Dot Da Genius. The artist clearly shows his ability to switch tempos and emulate a new style of music. Though many different remix versions have already leaked, this track is sure to leave an impression that the others have failed to accomplish. The artist also prides himself on constructing a sound that is not easily duplicated as verified here.
Track 13 – Take You There (Remix) Time: 4:03 One of the shortest of the remixes, however, this track gives the compilation its balance with a blend of tropical R&B sounds. The artist takes his audience on a journey back to his island roots while at the same time speaking directly to the women across the world. For those who assumed that the contents of the mixtape would be limited to everyday hip-hop substance, this track exposes the artist to a diverse demographic and a subset of individuals who would not appreciate his music if he were similar to many of the one-dimensional musicians currently in the entertainment business.
Track 14 – Swagger Like Us (Remix) Time: 4:46 The initial concept for this track was designed as a collaborative project with the artist and another musician from his hometown. Conversely, the collaboration remained incomplete for numerous reasons and the artist decided to create yet another solo recording instead. He talks about the fundamental nature of the term “swagger” in a creative form of lyricism, featuring lines like, “…rock the mic so hard, you see minerals…” and “…the greatest of all time in my inner wool…” These lines, among other quotes, describe his unique personality and his views of swag and intelligence. On the other hand, the third verse offers a second opinion where swagger is less of a discrete belief and more in terms of the energy that comes from within one’s self and the way it is shared with fans and potential listeners.
Track 15 – Gotta’ Make It (Remix) Time: 3:20 The New Jersey native decided to continue his trend of assorted beat selections by choosing Plies’ “Got ‘Em Hatin’” produced by Nitti. Though this was not the original choice of production, as indicated by the quote, “…nobody told me, “Get lost, homey…where Jay went,” the artist noticed a rather special connection his words had with the instrumental. He begins to speak at a very spiritual level, outlining his struggles with both good and evil. The artist seems to endure a trivial rampage as he covers various topics at random; this is evidence that the music the artist produces is constantly flowing throughout his thoughts.
Track 16 – Jamaica Rum (Remix) Time: 3:50 This is THE most abstract track on the compilation…period. It features the instrumental played on Bob Marley’s song “Jamaica Rum” and lacks a conventional hip-hop drum pattern, thus creating a scenario for a true musician to display his or her greatness. As the artist begins to present, fans hear a combination of unique poetic excellence and a mysterious, emotional-filled delivery. He talks about his own personal reasons behind making music and directly tells the world what type of person he is. Later, he returns to his usual, simile-based style, quoting lines such as, “Music is my therapy, therefore I’m sick…no, I’m tight, but there might be lines you can’t grip.” Therefore, it is fair to say that this track will be one of the most creative projects in hip-hop history.
Track 17 – Out Here Grindin’ (Remix) Time: 5:33 An upbeat, southern addition to the mixtape will definitely appeal to the ear of the people around the artists’ current residence. In fact, he tacks on a verse that is worth enjoying the original song again to hear, quoting lines like, “…catch me at AT&T…and I’m the bomb like I just ate TNT…” and “…see I’m…I’m a phenom’, but you? You’re an R. Kelly mixtape peon…” He manages to create such an amazing audio experience that many fans may begin to confuse it with the original after a few listens.
Track 18 – Say Hello (Remix) Time: 4:45 Inspired by the most controversial track on Wale’s mixtape, “The Mixtape About Nothing,” and dubbed “The Kramer,” the artist commences by walking us through his opinion of the infamous “n” word. He states that despite the fact that the structure of the word itself changed, it still retains the same meaning of ignorance and subordination. He also admits to often using the terminology when he says, “Can’t say I never have when I still do…old whites growing on me like mildew…” After about halfway into the song, he starts to comment on personal issues. Contrary to his religious beliefs, the artist concludes the track by quoting the famous Serenity prayer from the Bible.
Track 19 – Pop Champagne (Remix) Time: 3:43 This is the most obvious example of how the artist uses specific lyrical techniques to transform what is simply a mainstream radio hit into an underground masterpiece with a powerful message. He uses vocal samples of producer Ron Browz, credited for the production of this instrumental, to give the remix a feel similar to the radio release featuring hip hop artist Jim Jones. He begins to clarify a young relationship between himself and a female friend he met on his way to campus, including his first impressions and the emotions he felt because of the interactions. In addition, similar to some of the previous tracks on the collection of music, he finalizes his recordings with superlative wordplay and breath-taking wit, including lines like, “…So the flow switch gears and accelerate…I’m on route to the moon; it’s interstellar space…where it’s really On Star…” The artist is able to bring his compilation to a very exciting halt and the impression that the future of hip-hop will be partly defined by a young man who goes by the name “Kid Psalm.”
(also included in the downloadable ZIP package)Updated: Friday, April 3, 2009.