written by Low Key

Tupac Shakur- the name means a whole lot these days. It carries more weight than almost any other Hip-Hop artist in history. He is looked at in so many different ways it is tough to actually grasp his legacy or figure out what to think of him. But one thing is for sure, while he was with us, 2pac was one of the most influential rappers in the history of the game.

Before his death, 2pac along with his fellow outlaw members put together different personas or alias from various historical figures, thus spawning the birth of Makaveli. This new persona 2pac displayed characterized a different side of 2pac, a side many emcees did not want to cross paths with. This new Makaveli side of Pac brought anger, vengeance, raw energy and a thug life image that was looked at as so real, no one would be able to duplicate it, even years after his death. After his tragic death, Deathrow decided to release 2pac’s first posthumous album, entitled, Makavlei “The 7 Day Theory”

Original Article

written by Low Key

Leave it up to the geniuses at Death Row Records to continue finding new ways to tarnish the legacy of 2pac even years after his death. With no new material coming out of the company they are forced to come up with even more extreme ways to release 2pac material just so they can make some money. This years disgrace to 2pac comes in the form of a remix album entitled the “Nu Mixx Klazzics”, where Death Row’s production team, Tha Row Hitters, try and remake 2pac’s classic material off of “All Eyez On Me” & “Makaveli”.

Original Article

written by Low Key

While he was here on this earth 2pac was one of the most influential, controversial, and hardest working artists in the Hip-Hop industry. This uncanny work ethic has lead to what seems like a never ending release of posthumous releases from 2pac. While some have been memorable such as the 2pac/Outlawz album, most have been lackluster such as his last album “Until The End Of Time”. The main problem with “Until The End Of Time” was the album’s production staff’s decision to remake most of 2pac’s unreleased material. Instead of releasing the exact material 2pac made when he was alive, they tried to cash in on a quick buck and liter the album with guest appearances, corny R&B hooks and worst of all new production that didn’t match anything like the original. While most prayed that this trend would not continue on this year’s edition of 2pac album’s entitled “Better Dayz” it has and to everybody’s disapproval it has gotten worse.

Original Article

review by Todd E. Jones

Theme music for the apocalypse has been provided by El-P. If “apocalyptic hip-hop” was not a term I just created for this article, El-P would be the genre’s father. Originally signed to Rawkus Records with the independent group Company Flow, El-P has risen to mythical heights in the world of underground / independent hip-hop. He is a white emcee/producer from New York who cannot conveniently fit under only one label. He is not a backpack rapper. He is not a religious zealot. He is not a gimmicky wannabe who is exploiting the culture. Simply, El-P is his complicated self. Founder of the now legendary independent record label, Definitive Jux, El Producto has earned his much deserved respect. As a label founder, El-P used Definitive Jux as a vehicle to release dense and high quality albums by C Rayz Walz, Cannibal Ox, The Perceptionists, Aesop Rock, Mr. Lif, and others. His cacophonic production style is gloriously unique and dramatically powerful. His drums have a juggernaut force and his melodies are lush soundscapes. He has contributed production for albums like “The Cold Vein” by Cannibal Ox, “Black Dialogue” by The Perceptionists, “I Phantom” and “Mo’ Mega” by Mr. Lif, and “Year Of The Beast” by C Rayz Walz. From start to finish, El-P’s “Fantastic Damage” was his challenging and thought-provoking debut solo album. Standout cuts included “Blood”, “Deep Space 9MM”, and “Fantastic Damage.” A true hip-hop producer, El-P also released varied instrumental albums. Released on Thirsty Ear Records, “High Water” showcased his talents by capturing his production skills with jazz band. Released on Definitive Jux, “Collecting The Kid” was a refreshing compilation of tracks from various projects El-P had been working on. “Constellation (Remix)” (featuring Stephanie Vezina) and “Oxycontin” (featuring Camu Tao) were exceptional tracks. Fans were yearning for El-P’s next complete solo album. When people thought El-P could not top “Fantastic Damage”, they were amazed when El-P’s sophomore album surpassed his previous work. “I’ll Sleep When You’re Dead” is a glorious, intelligent, and powerful album. While the “Fantastic Damage” LP was described as somewhat difficult listening, “I’ll Sleep When You’re Dead” is exceptionally constructed, instantly entertaining, and intellectually memorable. Hip-hop will never experience another album like “I’ll Sleep When You’re Dead”.

“I’ll Sleep When You’re Dead” contains multiple tracks of epic proportions. The opening cut, “Tasmanian Pan Coaster” possesses a powerful crescendo and thick bouncing rhythms. El-P’s chorus is a shocking epiphany, “…This is the sound of what you don’t know killing you / This is the sound of what you don’t believe still true / This is that sound of what you don’t want still in you / TPC motherf*cker / Cop a feel or two…” The song features Omar Rodriguez-Lopez and Cedric Bixler-Zavala of The Mars Volta. Mr. Dibbs also contributes turntable cutting to the track. During the song’s conclusion, the use of a distorted guitar intertwined with an operatic vocal sample creates a devastating cinematic sound. “Flyentology” features Trent Reznor of Nine Inch Nails on vocals. Even people who are sick of Trent Reznor will probably appreciate the song. El-P uses Reznor’s vocals in a very intelligent way. He is careful not to overuse Reznor too. Since the song does not clash with the other tracks, the album’s flow is maintained. The animated music video for “Flyentology” gives the song a complete new dimension while telling a creative and fantastic story. El-P’s view on religion and spirituality is extremely refreshing. “…There are atheists in the foxholes / There is no intellect in the air / There are no scientists on the way down / Just a working example of faith verses physics…” His creativity leaves much to interpretation. The epic conclusion of the album is “Poisonville Kids No Wins”. El-P’s soft spoken, heartfelt delivery is enhanced by the song’s structure. The beat stops and restarts throughout the track, gaining more momentum and power every time. The massively hypnotic chorus is a thick, melodic beat crescendo. Chan Marshall of Cat Power adds poignantly ethereal vocals during the song’s finale, “…Never, ever, ever gonna get that way again…” Cinematically epic, these songs bring hip-hop to creative heights.

The album also includes tracks that are shorter in length but not quality. “Drive” is possibly the most instantly appealing song on the album. For the chorus, a sped-up vocal sample is used before each line. El-P’s verses are wonderfully frustrating. El-P raps, “…I’m not a depressed man / I’m just a f*cking New Yorker / Who knows that sitting in traffic with these bastards is torture…” El-P’s “Drive” is proof that he can create a somewhat catchy yet clever solo track that has the potential to be a single. “Up All Night” is a bouncy, intelligent track with thick, electronic melodies and swirling drum rhythms. In the hook, El-P states that he is not a person to be taken advantage of, “…I see you all regardless / I know what lies are like / I might have been born yesterday, sir / But I stayed up all night…” Another bounce-driven track with a memorable chorus is “Smithereens (Stop Cryin)”. El-P’s quick double-time flow adds a cool diversity to the album. He even adds melody to his hook. “No Kings” is a tight cut which features a deep-voiced Tame-One (formerly of Artifacts). “Run The Numbers” (featuring Aesop Rock) is a catchy track which will have you shouting “Find those detonators!” El-P’s melodic repetition of “Na-na-na-na-na-na-na” makes the song catchy, fun, yet still intelligent. Another powerful track, “The Overly Dramatic Truth” is sexually harsh and insanely aggressive.

Only a handful of songs do not have the same intensity or replay value as the other tracks on the album. “Habeas Corpses (Draconian Love)” is an overdone track with the repeated hook: “I found love on a prison ship.” Cage contributes vocals to the track. Although Cage and El-P work well together, the album’s other songs are more satisfying. The only other somewhat filler track is the short and angry “Dear Sirs”. To call these tracks filler is somewhat unfair because the depth and meaning of each song does shine with creativity.

“I’ll Sleep When You’re Dead” displays a major maturation in El-P. His production talents have become extremely unique, but massively emotional. As an emcee, he has begun to master his flow and delivery as well as his cadence. Although “Fantastic Damage” was a solid album, “I’ll Sleep When You’re Dead” is incredibly tighter and more accessible. The album’s accessibility never forsakes the usual complicated beauty of his music. While the album may also be considered a challenging listen compared to most hip-hop CDs, “I’ll Sleep When You’re Dead” is beautifully challenging and executed with an intellectual precision. Although the album may go over people’s heads, intelligent and open-minded music lovers should appreciate the record’s multiple layers of creativity. Simply, “I’ll Sleep When You’re Dead” by El-P is a complicated modern hip-hop classic.

I held out on Fergie’s album for a long time. Though I held a dance party for one in my car everytime her singles came on, I tried to not like her as much as I could on principle. The funny thing is I don’t even recall what I held against her. Was it her repeatedly tacky and busy videos? Was it the ‘in your face’ sexuality and broken past? Was it the peeing in the pants while with the Peas? Well, whatever it was, I am over it. I’m a Fergie fan.

The Dutchess album is creative, which is hard to do in this era of overproduction and underperformance. Her album is like musical dim-sum, a little of everything. She has some hip-hoppy raps in “Glamorous” and “Fergalicious”, a hybrid reggae/ska in “Mary Jane Shoes”, a soul ballad on “All That I Got”, the poppy love song in “Big Girls Don’t Cry”, and gets jazzy on “Velvet”. It is a danceable album that demonstrates the cosmic scope of her talent, hinted at by various Black Eyed Peas albums.

Additionally, Fergie is legit. She offers a genuine message in her music about life, self esteem and struggle that is uncommon in mainstream albums. Though I agree with an Amazon reviewer that her lyrics can be awkward, they are real and she wrote them. I love that line in Glamorous “I still go to Taco Bell/ drive through Ross, hell”, as well as her complaint about uncomfortable shoes at a club in “London Bridges”, and her wondering whether a superficial change in her appearance would discourage her boyfriend in “All I Got”. Her album is replete with lyrics that I relate to as a working class young woman. Finally! Substance! As we have Paris Hilton helping to move us toward apocalypse, we have Fergie pulling us in the other direction. In many ways, her music is about hope. Considering who she is, her junky to riches triumph, she The Dutchess represents a stunning and meaningful accomplishment.

The Dutchess also does something I think the Peas are good at; no dull moments in the cd, even in the slower songs. It sucks when albums fall flat for four songs, like Rihanna’s Girl Gone Bad, who is on a roll until the last half of her album. As Timbaland says, “It’s been a long time/ I shouldn’t have left you/ without a dope beat to step to.” The Dutchess never leaves you stranded without a beat.

Fergie is hard to take in the same way Pink is. She is sort of funny looking. Her music is reflective and personal. She isn’t a ditz like Jessica “Push Your Tush” Simpson. She isn’t lacking mental capacity like Paris Hilton, hasn’t sold out like Gwen Stefani, has matured past the self destructiveness trademarked by Lindsay Lohan, and isn’t psychotic like Brittany Spears. Fergie is an adult and made an album for adults who love to dance, and for girls who need a strong woman to look up to in an industry where they are hard to find.

Fergie – The Dutchess – 8/10 – Amelia Timbers

This Week’s Soundtrack:Â

from Todd E. Jones, Music Journalist

Hip-hop:

“Return Of The Mac” – PRODIGY
“The Grudge” – TAME-ONE
“Expressions” – DUDLEY PERKINS
“Sagala” – PATTIE BLINGH & THE AKEBULAN FIVE
“Enter” – DJ KENTARO
“Donuts” – J DILLA JAY DEE
“Get Dirty Radio” – A.G.
“The Dropping” – C RAYZ WALZ
“The Infamous Archives” – MOBB DEEP
“Jesus Price Supastar” – SEAN PRICE

Alternative:

“Dear Sir” – PAS/CAL
“Extricate” – THE FALL
“Back Numbers” – DEAN & BRITTA
“MA Fleur” – THE CINEMATIC ORCHESTRA
“The Good, The Bad, & The Queen” – THE GOOD, THE BAD, & THE QUEEN
“STAX 50th Anniversary Celebration” – VARIOUS
“A Little Place in the Wilderness” – MEMPHIS
“Good To Be A Stranger” – THE ORCHIDS
“Off My Rocker At The Art School Bop” – LUKE HAINES

Todd E. JonesÂ

~ Music Journalist ~ toddejones@yahoo.com

MYSPACE: http://www.myspace.com/toddejones

personal sites:
HARDCORE HIP-HOP REVIEWS & INTERVIEWS: http://hiphopinterview.cjb.net
INDIE MUSIC: http://indie-music.cjb.net

by Todd E. Jones

A myriad of albums in 2007 possessed an insightful focus on England. Although not outwardly popular, Luke Haines uses his United Kingdom heritage as the backbone of his latest album. Recently, many artists have been sharing their view of England in their work. Front man from Gorillaz and Blur, Damon Album created a super group and released “The Good, The Bad, & The Queen”, an album that attempts to display a musical picture of contemporary life in England. Lily Allen’s debut album represents London (especially on her single, “LDN”). Respect them or not, other popular British artists who showcase their English background are Robbie Williams, Damien Rice, and Kasabian. Like any major city, there are the dark streets, sinister stories, and underground legends. Former lead singer for The Auteurs, Luke Haines is the epitome of England’s intelligent underground pop/rock music. He is not some bubblegum pop singer or boy band member. He is one of the most underrated artists of the time. His sharp wit is complemented by his knowledge of interesting subjects and clever lyricism.

Impressively prolific, Haines has been in multiple groups and has released a plethora of albums during the past decade. Originally, he was the front man for The Auteurs. Their bewildering albums include “New Wave”, “Now I’m A Cowboy”, “After Murder Park”, and “How I Learned To Love The Bootboys”. Some classic Auteurs songs include “Showgirl”, “The Rubettes”, “Everything You Say Will Destroy You”, and “Chinese Bakery”. While a member of the group, Haines also created a brilliant side-project titled Baader Meinhof, based on the 70’s German terrorist organization led by Andreas Baader. The concept album, “Baader Meinhof” is an under appreciated classic. Haines also formed Black Box Recorder with John Moore and Sarah Nixey. Black Box Recorder possessed all of the intelligent themes and vibes of The Auteurs, but Nixey’s commanding vocals created a wonderfully sexy sound. As a solo artist, Haines released “The Oliver Twist Manifesto” LP and the official soundtrack for the film, “Christie Malry’s Own Double Entry”. His discography became enormous. A magnificent collection of b-sides, outtakes, and radio sessions were compiled for the excellent 3 CD set, “Luke Haines Is Dead”. In 2007, Haines left Hut Records and signed to Degenerate Music. His new solo album, “Off My Rocker At The Art School Bop” is a collection of songs that represents England in a multitude of ways. While other British artists sing about the obvious elements such as poverty, drugs, war, and social life in England, Haines sings about England’s history, artists, and underground scenes. Although his references are not particularly well known, a little research proves that his topics are wonderfully fascinating. Basically, every single Luke Haines album is both entertaining and educational.

“Off My Rocker At The Art School Bop” adheres to the Luke Haines style and formula of his past work. Short and sweet, the album is comprised of 10 relatively tight songs. Some are very catchy, but others require repeat listens to gain full appreciation. All of the songs display his historic knowledge weaved together by a sharp sense of dark humor. The opening title track is a solid representation of the album’s sound. The guitar hook is hard yet not simple or annoying. The up tempo electronic rhythmic beat creates a somewhat dance-friendly atmosphere. In the chorus, Haines sings, “Can you feel the beat of my art?” The following track and 1st single, “Leeds United” is remarkably British. The arena rock style of the chorus displays an intense pride for Leeds. “The Heritage Rock Revolution” is the album’s only disappointing track. Haines uses his shadowy lyricism to express his love for rock music, “…I love rock and roll / I hope it never dies / Put it in a chocolate box / Wrap it up in cotton wool / and bury it alive…” Another song with deep British undertones, “All The English Devils” is surprisingly catchy and deliciously twisted. The bouncy melody truly makes the song multidimensional. Haines sings, “…All the English devils / Scourge of the little man / my beautiful devils / Just want a little romance…” As a lyricist, Haines always had a fascination with the villains of the world. In this song, he sounds so proud of his country’s treachery. “The Walton Hop” is a song about a popular Thames club that ran from the late 1950’s to the 1990’s. The upbeat track has a driving guitar melody with a bouncy chorus. The album’s finest moment, “Fighting In The City Tonight” is wonderful single. “…I’m so in love with you / I’ll never fall in love again / I’m a lover not a fighter / Our love I will defend…”, sings Haines during the chorus. The track perfectly captures the romance of violence. Towards the end of the song, his love for England is displayed again as he lists parts of Great Britain where he will be “fighting”. “Fighting In The City Tonight” is a perfect Luke Haines pop song that includes his menacing humor, an English grace, a masculine aggression, and a little romance. “Here’s To Old England” is another track that toasts his country. The song is overflowing with astute references about the country’s definitive attributes. Haines sings, “…Here’s to old England / Sliced white bread and milky tea / Sarcasm, a well developed sense of irony…” The odd track, “Freddie Mills Is Dead” continues to display his fascination about death and celebrities. The change in melody and tempo that occurs during the song’s bridge is a refreshing surprise. Another excellent song, “Secret Yoga” is somewhat reminiscent of “Sick Of Hari Krishna” (from “How I Learned To Love The Bootboys” LP). Hypnotically mesmerizing, “Secret Yoga” has melodic mantra for a hook, “Mountains are not mountains and the sun is not the sun…” Atmospherically wondrous, the song is open to multiple interpretations. The album’s closing track, “Bad Reputation” is not as powerful as the other songs that have closed his past albums. Melodically, the chorus has a magically lush sound. Lyrically, Haines sings about the horrible Garry Glitter and how he destroyed The Glitter Band.

England should be proud of Luke Haines. There will never be anyone like Luke Haines. Some hard rock artists sing about gloomy topics like murder and revolution, but their music can be blatantly noisy and obnoxious. In contrast, Haines sings about his dark topics over his graceful music. His music has an intelligent structure and sound but maintains a powerful edge. The guitar melodies and drum rhythms are hard enough to be aggressive, but the music is also sleek and stylish. This whole package accentuates the sinister beauty of his art. “Off My Rocker At The Art School Bop” by Luke Haines is another fine collection of addictively rich songs. Unfortunately, the LP does not possess the same sinister potency of “The Oliver Twist Manifesto” or his soundtrack for “Christie Malry’s Own Double Entry”. Although the sinister themes and astute wit is evident, “Off My Rocker At The Art School Bop” is not as deliciously evil as his previous solo work. Luke Haines uses obscure yet interesting references known by few people. Could Luke Haines become like one of those people he mentions? Will there only be a few people who are familiar with this artist’s amazing work? Regardless of fame, Haines is a brilliantly unique artist who creates enthralling and timeless British indie-rock music. Any fan of his music will appreciate his latest solo effort. “Off My Rocker At The Art School Bop” represents the true underworld and unpublicized side of England. Cheers to Mr. Haines!

Original Article

by Josh Potter

In the calm before the storm, a simple voice asks a simple question: “Do you think that if you were falling in space that you would slow down after a while or go faster and faster?” It’s Donna Hayward from Twin Peaks: Fire Walk with Me — an ominous sample to begin an ominous opening track. But like a PCP-induced fever dream, omens turn to nightmares, and like something plucked from the pages of George Orwell or Phillip K. Dick, the nightmare proves itself to be far more scary and far more real than a mere night-time fantasy. “This is the sound of what you don’t know killing you.” The hook spouts it and the album embodies it. I’d tell you to run for cover, but this whole thing’s been brewing for too long to turn back now. We’ve seen it all coming and have no choice but to ride it out. Believe me, it’ll be worth it. “Cop a feel or two.”

Four years in the making, I’ll Sleep When You’re Dead has been rightfully described as El-P’s “post-traumatic stress album.” It’s a harrowing, visceral concept album, as much a response to the Draconian, post-9/11 world, as to personal tribulations. Its goal of capturing the political by representing the personal results in a fully-realized 13-track dystopia of searing guitars, dissonant electronics, and heavy industrial beat-scapes. It’s the much anticipated follow-up to 2002’s Fantastic Damage, and has been heralded by some as the most important rap album of 2007, as early as Fall 2006.

Employing his Gay Dog method of collaboration (pulled from the South Park episode in which George Clooney appears as a gay dog), El-P has assembled a veritable who’s-who of the contemporary music world to lend the disc additional gravity. Trent Reznor, Omar and Cedric of the Mars Volta, Chan Marshall, and Tunde of TV on the Radio are just a few of his guests. I’ll Sleep… . finds El-P behind the microphone as well as the MPC, trading cryptic verses with Def Jux legionnaires Aesop Rock, Cage, and Mr. Lif.

In fact, his top-notch production value aside, it’s El-P’s lyricism that carries the day and holds the sprawling beast of an album together. Slipping in and out of characters, reprising earlier themes and using the power of suggestion as much as the gift of gab, the narrative tug of the album drags the helpless listener through the muck and mire of the tracks, teasing him with a glimmer of hope in the end.

From when the newpie dip sparks in the first verse of “Tasmanian Pain Coaster,” “the whole design got (his) mind cryin’” and it won’t let up. In “Up All Night” Lif tells El “we’re all deranged/ I’m no different/ I wish my hope still existed.” Yet in “Drive” El “hopped in the hooptie screamin’ freedom is mine.” It’s not optimism, though, so much as desperate resilience. “Dear Sirs” finds El allerting the powers that be that he will not in even the most unlikely situations fight their war, ever. Even after having to execute his lover in “Habeas Corpses” the issue is determined to be a matter of “faith versus physics,” and the plea goes out in “Flyentology” to “keep me in the sky that’s all that I cry/ I’ll become your servant if it’s worth your time.” When the newpie’s burned to the filter in “Poisenville Kids No Wins,” nothing’s been resolved, but it seems that the issue at hand has at least come into better focus. “How the fuck do you explain your own self-destruction,” El muses, “and still remain trusted?”

Self-destruction aside, El-P has little to fear in the trust department. I’ll Sleep When You’re Dead is the album that the hype-machine always expected he’d make — unsettling, urgent and necessary. It’s an album to be feared for the same reason it ought to be sought out. It’s one big helping of tough-love and even a spoon full of sugar isn’t going to help it go down. Don’t expect that the free-fall is going to slow down anytime soon, because as Laura Palmer speculates, through a haze of reverb, in response to Donna’s question, “for a long time you wouldn’t feel anything, then you’d burst into fire. And the angels wouldn’t help you because they’d all gone away.”

Original Article

by Dwain Lucktung

Spark up a joint, have a drink to this album, and you’ll feel as cool as a T-Bird picking up a Pink Lady at some ’60s greasy burger joint. Punch that jukebox and roll to the sultry voice of Amy Winehouse.

2007’s Best Female at the Brit Awards has returned with her second album, Back to Black. Produced by Mark Ronson and Salaam Remi, the album is a fine, mature and honest follow-up to her 2003 platinum debut, Frank.

Here are 11 tracks of unforgiving, jazzy soul, with a refreshing hint of R&B and gospel-like tunes that illustrate the fact that Winehouse is our modern-day Supreme.

“Rehab” and “You Know I’m no Good” made the UK Top 20 chart in 2006 with easy bass beats and irritatingly catchy harmonies and lyrics. Both are as witty and complex as Winehouse herself. With “Rehab,” the alleged crazy alcoholic sings of her refusal to attend an alcoholic rehabilitation centre, while “You Know I’m no Good” (which features rapper Ghostface Killah) depicts Winehouse’s views on the trials and tribulations of love. (The track will be the lead single as Back to Black is scheduled for release stateside this month.)

Love is a major theme on the album, and the shameless honesty with which Winehouse speaks of it is recognizable as Back to Black’s defining characteristic.

Other tracks such as “Love Is A Losing Game” and “Tears Dry On Their Own” evoke relationship trauma, as the London-born girl expresses in the latter song with her lethargic vocal power: “I should just be my own best friend/Not fuck myself in the head with stupid men.”

The heartbreak continues with the slow and sensitive “Wake Up Alone.” Nonetheless, with its mellow, soothing sound and Southern soul-like back-up singers, this track sets your mind at a pace reminiscent of couples swaying at the last dance of an old-school prom.

But it’s not all a sappy romantic mush of heart-on-sleeve songs. Winehouse is better than that, with her harsh references to sex and frank approach to addiction problems that leave no rest for the imagination. This Camden lass is no-holds-barred with the opening lines of the title track: “He left no time to regret/Kept his dick wet/With his same old safe bet,” all to a funky piano setting the rhythm and Winehouse’s ever languid voice lifting one into a natural high.

Be aware this album is for those willing to embrace a cool and sexy reformation of Mo-town grooves and pure soul. If that already goes over your head, you might prefer using this record as a frisbee this summer.

Winehouse offers nothing more on Back to Black than her jazz roots and soul inspiration culminated with unapologetic emotion, epitomized by the finger-clicking, bouncing feel of “Tears Dry On Their Own,” which closes with: “He takes the day but I’m grown/And in your way/My deep shade/My tears dry.” This troubled and talented girl is all grown up. If you like it, listen up. If not hush up, move on. I doubt Winehouse gives a fuck either way.