( My understanding is that it had more to do with a “payment for services rendered” issue between Luda and Dame.)īlack Keys guitarist Dan Auerbach provides The Mighty Mos with a rolling, shifting guitar line that suits the rapper's ever-evolving, continuous flow/wordplay in a way that shows you exactly what heights Mos Def was trying (and failed) to achieve with his own rock group, Black Jack Johnson. As one can expect from the main performers, it's more of a fun song than a deep one, although for some unfathomable reason Ludacris claimed not to like it, causing it to be removed from the iTunes version of the album. Chris and Dirty flow all over the song as well-placed guitar licks and distorted chords alternate suddenly, and perfectly, with the bass and what even sounds like a didgeridoo. Making use of a song Luda and ODB recorded before the latter's death ( one which was originally intended for the never-released Ason Unique), the Keys bless the track with an extremely bass-heavy backdrop, punctuated by a shrill guitar line that fits perfectly. COOCHIE (FEAT LUDACRIS & OL' DIRTY BASTARD)
#BLAKROC ALBUM SONGS FULL#
Which is why word of this album's even existence seems to have shocked many media outlets (except the bloggers on the XXL website, many of whom worked with Dash at Def Jam and apparently still haven't recovered from Stockholm Syndrome) into a meandering mass of confused bovine creatures, unable to doff their preconceived notions for longer than it takes to marvel at the inconsistencies: Dame Dash somehow trapping Patrick Carney and Dan Auerbach in a studio with a string of (mostly) anti-pop hip-hop artists for long enough to record a full LP.ġ. I can believe elements of this argument: after all, his endless endorsement of DipSet rappers basically forced me to block out his entire existence for the roughly four years between the Roc's dissolution and the BlakRoc project, a collaborative effort between blues-rock band The Black Keys with various rappers, on which Dame acts as both the creator and the executive producer. The hip hop media (which sadly now includes the “Blogosphere”) would have us believe that Damon Dash is and always has been nothing but a money grubbing, bipolar, tyrannical asshole with no ear for music whatsoever. (I am, actually, surprised at how easily the music industry can be bent to a metaphor for implied-homosexual jealous prom queenery). Be sure to leave your comments below.)Įver since Dame Dash and his former BFF-slash-business partner Jay-Z split up back in 2005, the media has greeted every Whack-A-Mole-esque glimpse of the one-time Roc-A-Fella CEO's scalp like an opportunity to pander ever more blatantly to media darling Shawn Carter by shitting on the man's name, not unlike petty girls trying to get the high school quarterback to take them to the prom by dressing down his previous longtime girlfriend after a bitter public breakup. Suffice it to say, Jay-Z fails to appear on BlakRoc, although his spirit is surely felt. Marks tackles the Damon Dash media comeback known as BlakRoc, the collaborative album between The Black Keys and various rappers, most of whom had never had any previous dealings with Dame Dash. (For today's Reader Review, frequent contributor A.R.