Follow
us on Twitter for updates as they happen and sarcastic commentary.
Like
us on Facebook for updates in your feed, special offers, and more.
RSS
if you're one of "those" people.
Join
our mailing list. It's so wizard.



The story of Macklemore is pretty interesting. Here is a man, based in Seattle, completely removed from the hip-hop scenes of New York, Los Angeles, and down south, who hasn’t released an album in seven years, and then proceeds to open his first week on Billboard with around 60,000 sold, independently no less? We imagine many major label A&R’s are scratching their heads, trying to explain to their bosses how they “let” this happen.


But Macklemore is anything but an overnight success story. He’s actually proof positive that “slow-and-steady-wins-the race”, as he’s foregone instant major label stardom by instead going the independent route, and in a rare instance, it’s worked. He’s built his fanbase from the ground up, even throwing annual “pizza parties” (we’re unsure of the definition of that) for his followers, despite an almost Detox-like break since his last full-length project, albeit a mixtape and a few EP’s, here and there.


So, seven pizza parties later, here we are, with The Heist, a collaborative album with producer Ryan Lewis. So why the long break? Macklemore struggles with addiction, as he details here several times on the album. There couldn’t be a more open and honest emcee than Macklemore, which is what separates him from many of his peers. Mack doesn’t really feel the need to pretend he’s something he’s not, and rarely holds his tongue. It’s almost safe to say that not a minute or a verse is wasted on The Heist, despite a few minor shortcomings, here and there.


The album begins with “10,000 Hours”, a sort of dedication to the grind, as Macklemore breaks down his blue-collar approach to success, leading into the celebratory “Can’t Hold Us”, over a beat that would make a certain college dropout proud. This leads into the light-hearted, brilliantly penned “single”, “Thrift Shop”, which finds Mack at his most whimsical, as the heavier stuff is on the way.


Mack tackles a number of hot-button topics on The Heist, often with profound lyrical anecdotes that make him one of the best “conscious emcees” of the new era. “Same Love” is a beautifully written – and sung, courtesy of Mary Lambert – song that deals with sexual identity and civil rights issues of the gay community in America, while tracks like “Make The Money”, “Gold”, and “Wing$” – the latter touching upon youth culture’s Nike obsession – wrestle greed and consumerism. Later, he spouts off about his choice to go the indie route on the incredibly visual “Jimmy Iovine”, and then decides speaks on a white rapper’s role in black man’s artform on “A Wake”. Like we said, heavy stuff.


But Mack’s most revealing and fascinating tracks deal with his addiction, which span both “Neon Cathedral” and “Starting Over”. The former finds him denouncing God for alcoholism, in a pretty heavy parallel between the church and the bar. While he found sobriety some years ago on his Red Hot Chili Peppers’ sampling “Otherside”, on “Starting Over” he deals with relapsing. It’s a heartfelt tale of failure that finds Mack examining his thoughts on how to break it to his fans – especially those he’s inspired to be clean – that he’s not.


All of this could not be possible however without the work of Ryan Lewis, who produces this album. Utilizing a combination of live musicians and samples, the sound of the album is big, full, clean, and most of all, unique. It’s built upon the foundations of classic hip-hop, but in a Kanye West sort of way, is not afraid to experiment either. Had Ryan’s production not been so tight, perhaps Mack’s introspective lines may have fallen on deaf ears.


The Heist is easily the sleeper hit of 2012. Macklemore has honed his craft over the last few years to perfection, separating himself from a sea of independent rappers trying to break through when they simply aren’t ready. Together with Ryan Lewis, the two have found a chemistry that comes along rarely, and their existence outside of the dominant hip-hop markets has left their music uninfluenced by trendy sounds and industry evils. It’s clear that the constant grind has paid off; all hail the return of the Mack.

Related Articles
11 Responses to "Macklemore & Ryan Lewis – “The Heist” – @@@@1/2 (Review)"
  • the man the myth says:

    I hear you and agree but at the end of the day and like my man Chuck D said, “who gives a fuck about a goddamn grammy” The nominee list as it usually is was wack as fuck. Kendrick’s album was easily the best of the bunch, but I didn’t really care for it like everyone else did. Run the Jewels, !2 reasons to die and Czarface were far superior to all of those nominees, but that real shit doesn’t get any play from that stupid award show. The grammy’s lost the very very little cred they had when they gave p diddy the award over wu tang forever, all those years ago. At least it is the same popularity contest as its always been. And I agree, this Mackelmore shit was wack as fuck. I would give it a 2 1/2 or 3 out of 5 at most. How the fuck did it get 4 1/2?

  • The Doorman says:

    yeah fuck a grammy and all. but you’d give this a 2 and 1/2? this is a conscious rap album. even though it crossed over (cuz he’s white), it’s actually real dope. save the @@’s for irv gotti and oj da juice man

  • yungplex says:

    I once liked Divine Styler & Def Jef cause they made conscious rap. That didn’t stop me from calling them ninjas wack after they fell off. Black,White,Hispanic,Jewish,Muslim,Christian, LGBT,& Hetero really don’t matter. I’m just not feeling funny style ish.

  • The Man The myth says:

    No, I couldn’t care less that he is white. El-P is white and he has made more dope shit than anyone else the last two years. I would give it 2 1/2 or 3 @ because its not my cup of tea. The beats are boring and way too pop sounding for my liking, and Mackelmore just doesn’t impress me on the mic. Also, this shit was crossover as fuck. I agree with youngplex, just because they are conscious doesn’t mean they are great. That song about gay equality was probably the lamest thing I have heard in the past 3 years, just terrible.

  • Chad says:

    @myth, gotta agree, kendrick should badmouth the grammys every chance he gets for their ignorance, this record was an independent pop LP, not a bad achievement though, no major label hype and it still came out on top, gotta love the power of the internet, or hate it, depending on what you support

  • Leave a Reply

    Name (required)
    Mail (will not published) (required)
    website
     
    Spam Protection by WP-SpamFree

    Search HipHopSite.com
      Mixtape D.L.
    Facebook