Saigon's album "The Greatest Story Never Told" has been delayed for about five years due to one disadvantage of being signed to a major label—album release dates are subject to the whims of the label.
This has been a familiar pattern for other veterans like Talib Kweli and Lupe Fiasco, who have complained publicly of similar issues; it is likely the same for many lesser-known artists controlled by the so-called "Big Four" labels.
When it appeared that Atlantic Records would not allow Saigon to release the album, the title seemed fitting. Fortunately, the issue was resolved and "The Greatest Story Never Told" was finally "told" to the public on February 15.
Saigon succeeds in a few distinct areas with this release.
Most evident is the overall production quality, which attests to Saigon's crisp lyrical style, but is also due to its producer, Just Blaze. Just Blaze has an extensive history producing songs for rap notables like Jay-Z, but rarely has he worked so extensively with an artist on an album.
Saigon's lyrics are also a highlight—the message of his songs can finally be heard after being stifled for so long.
"Bring Me Down Pt. 2" speaks to the difficulties of making it as a rap artist, while "It's Alright" encourages single mothers struggling to support themselves and their children.
This is a refreshing respite from much of the rubbish that is produced these days (read: Soulja Boy).
A big downfall of the album is the tendency for songs to blend together, which might be an unfortunate consequence of Just Blaze and Saigon's collaboration. While it is a great sound, it soon becomes overused, making it difficult to differentiate between tracks. Ultimately, I recommend listening to this album in small doses.
I am no master of fashion, but I could not help but be impressed by pictures of Theophilus London sporting dapper outfits in a photo shoot appearing in Complex Magazine's February/March issue.
London, who is becoming well known in fashion circles, is also a rising star in the world of hip-hop. London hails from Brooklyn, New York (as ironic as that sounds) and has gained significant publicity since his 2009 release, "This Charming Mixtape."
Growing public interest in London is well deserved. His music is innovative in its ability to draw influences from a variety of genres and yet remain distinctively hip-hop.
The great thing about London's "This Charming Mixtape" is that it never ceases to surprise.
The album begins with an electronic sound, the next few tracks are distinctively indie, but the fourth track "Always Love U" loosens those ties and has your head bopping.
This feeling only increases as the mixtape progresses: "Late Night Operation (Mike Dextro & Proper Villains Remix)" invokes an infectious techno sound, "Crazy Cousins" maintains the dance theme but shifts to a bongo for its beat, and "Fatality" is filled with '80s era synthesizers.
Unfortunately, the novelty of a hip-hop mixtape borrowing sounds from a range of genres quickly wears off, as London seems to be focused on using as many sounds as possible rather than strongly developing one particular style.
However, London addresses this problem with the release of his newest EP, "Lovers Holiday." In it, songs like "Wine and Chocolates" succeed in capturing the sound that London has decided to explore further.
The sound is distinct and infectious—London gives his tracks a laidback Indie quality (featuring Sara Quin of Tegan and Sara in "Why Even Try") and livens them up with hypnotic synthesizers and electronic riffs. And, his addictive voice and beat reminiscent of Kid Cudi will keep your head nodding the entire time.
London further develops that sound with his recent single "Humdrum Town," which is guaranteed to impress.
While I traditionally reserve the end of my column for one rising newcomer, I must break the trend this week and share London's spotlight with a second artist.
Mac Miller is a 19-year-old rap and hip-hop artist from Pittsburgh with a smooth style, even smoother voice, and a commanding presence.
One might label this recent high-school grad as the Jewish, white version of Wiz Khalifa in that he raps a great deal about marijuana and makes that a central part of his image.
Actually, Khalifa and Miller combine forces on the song called "Cruise Control," which appears on Miller's 2009 mixtape "The High Life."
Moreover, Miller recently signed with Rostrum Records in August 2010, the same Pittsburgh-based record label that first helped Khalifa rise to fame.
Miller released the mixtape "K.I.D.S" in 2010, which has dramatically boosted his publicity and fan base, especially via the Internet.
Miller proves his merit on the irresistible hits "Senior Skip Day" and "Nikes On My Feet." He is not hesitant to use his keen ear for catchy beats to his advantage—"Don't Mind If I Do" samples Owl City and "The Spins" samples Empire of the Sun.
I have been listening to these four tracks nonstop, but Miller's entire mixtape is worth listening to.
Miller has another mixtape, "Best Day Ever," due to be released on March 11. The mixtape's first single, "Donald Trump," is another solid track, and fans can probably expect more great things from Miller in the future.