So first and foremost let me apologize missing last week’s posting but I got caught up with a few amazing opportunities and projects and I thought it would be semi weird to have #TURNITUPTHURSDAY dropping on a Saturday. So with that being said this week we are going to do something a little different. Instead of giving you independent artists this week im going to give you some mainstream artist that have some really dope songs.

Rihanna feat Chris Brown – Nobody’s Business

Joe Budden – Mama Said

Wale – Freedom of Speech

Kanye West  – White Dress

Keyshia Cole feat Ashanti – Woman to Woman

JoJo – We Get By


New music from independent artist will be back soon but hopefully this will tide you over until that happens. Let me know what you guys think!



This week on #TURNITUPTHURSDAY we are going to showcase the DMV’s own Antwoinne. In 2008, he released The Prelude to the Diary EP and he did decent numbers considering it was pushed hand to hand and via word of mouth. 4 years later Antwoinne is in the process of working on a new album and to prepare for it he is releasing a bonus edition of The Prelude to the Diary EP with new material. This R&B rising star is bubbling under the radar and is one hit catching on with the masses to being a true household name. Maybe this can be the thing that triggers it. So without further delay click on the link below and check out what he has going on…


Antwoinne: A Musical Journey


Feel free as always to reach out to the artist and leave comments letting us know what you think. He can be reached on both Facebook and Twitter.

Meek Mill: Dream or Nightmare?

Buzz and hype are at a dangerously severe all-time high in Hip Hop music. In the era of social networking overnight success, where mixtapes are more hotly anticipated than the albums they are supposed to promote, the buzz that surrounds the release of mixtapes, singles, and even album artwork, might be considered to be a bit out of control. And when the results of a proper, full-length project don’t live up to the hype machine that seems to build them up just to let them down, it’s all the more disappointing.

With Philly emcee Meek Mill, the buzz factor has been in constant overdrive since he was announced as being part of the label/music collective/crew/entourage known as Maybach Music Group, under the tutelage of everyone’s favorite C.O. turned crack rapper, Rick Ross. Along with a stable of emcees that include D.C.’s Wale and Ohio’s Stalley among others, Meek has seen his stock skyrocket and his pockets fatten with Rozay’s mentorship.

And musically, he’s released some of the most critically acclaimed and streets-approved mixtapes with his Dreamchasers and Flamers series’, as well as Mr. Philadelphia and other projects. Plus, with two of his singles in “Tupac Back” and “Amen” featuring Ross and Drake respectively, making so many waves both positive and negative, and being two of the most massively successful songs of 2012, Meek’s debut album, Dreams and Nightmares, is set up perfectly to be one of the most anticipated Hip Hop releases of the year. The problem is that all the buzz, hype and past success can’t make Dreams and Nightmares a better musical experience in it’s own right, and it ends up falling pretty flat.

The album starts out with the piano-driven yet bass heavy title track, then transitions to “In God we Trust” and “Young and Gettin’ It”, all three on which Meek sticks to his script for success thus far: semi-autobiographical street tales of slanging and selling, braggadocios rhyme stanzas about getting money and women, being dismissive of broke dudes and basically living the American Dream hood life of an up and coming rap star. Not until “Traumatized” does the listener begin to get somewhat of a glimpse into Meek’s struggles, as he details the deaths of family members that he once held so dear (“You ripped my family apart/and made my mama cry/so when I see you, nigga, it’s gonna be a homicide…”). Sadly, that’s the closest we come to getting to know who the real Meek Mill is.

The rest of Dreams and Nightmares pretty much stays in the same vein: there’s the aforementioned summer success story of “Amen” with Drizzy, “Tony Story”, a third-person account of revenge told in Meek’s trademark high-pitched wail at the end of each bar, and three songs featuring Rick Ross that also don’t stray to far from the path that Meek has created already: “Believe It”, “Maybach Curtains” and “Lay Up” with Ross, Wale and Trey Songz contributing to Meeks’ moment. Out of the three, “Maybach Curtains” is the most interesting, with a lush, grown-and-sexy soundscape that does more for the song than the actual lyrics, complete with a dramatically over-the-top yet suitable chorus by John Legend. But eventually, the rest of the album begins to veer into throwaway track mode with a series of forgettable songs like “Polo and Shell Tops” and “Real Niggas Come First”, ending on a pretty low note.

Meek Mill’s main strengths as an artist are that he knows to stay in his lane and that he feeds off of what he knows, playing it safe and sticking to the street rhyme fare that many fans seem to be craving again. And it’s served him well on his mixtape outings. But on Dreams and Nightmares, not only does Meek seem to rely to heavily on his successful mixtape formula, it also sounds like he’s already gotten a little too comfortable being part of the MMG family, realizing that the fact he’s connected to Rick Ross will translate into selling a good number of units. Though it has its moments of descent enough music, the end result of Dreams and Nightmares is an album that plays at best as lackluster and disappointing, and at worst bland and boring.

Sadly, it looks like the hype machine has claimed another victim. Hopefully Meek can get back to the basics of what made him so good on the mixtape circuit on his next project.


– RG


We debuted #TURNITUPTHURSDAY last week and had a nice outcome and turnout. This week we are going to showcase Slashwaterboy’s “The Juicer!” The Juicer is the prequel to the Got Juice album that will be dropping soon. So please check out the DMV’s own, producer, artist, writer, Slashwaterboy and let’s #TURNITUP!

Caught Up ft Madam Madon & Draus

Make Em Mad ft Nu the Mayor, RarRathe ShoeTer & Mr. Chainsaw 

Southside Coastin ft Whitefolkz, Slash & Mo Betta


If yall like these tracks make sure you peep the entire mixtape and as always let the artist know what you think. Click on Slashwaterboy above and you can be directly connected to him. Next week get ready because we are switching up the genre and dropping a little rock on you…


Kendrick Lamar, “Good Kid, m.A.A.d. City”


Ever since the release of his critically acclaimed mixtape/indie album Section.80 in 2011, Kendrick Lamar has been well on his way to being the next Hip Hop “It” artist to emerge from indie success to mainstream prominence. Pretty much the poster child for both the Black Hippy movement and for Top Dawg Entertainment, Lamar is leading a charge of artists that include Jay Rock and Ab Soul that are continuously making strong name brands steeped in intricate lyricism and sincere yet diversified wordplay in new millennium Hip Hop.

Even though he had already recorded and released material through T.D.E., Section.80 was his coming out party to heads across the country. Now, having been blessed as the next big thing in Hip Hop by everyone from Dr. Dre to BET, Lamar just released his proper album debut with Good Kid, m.A.A.d. City.

Kendrick Lamar is the personification of Hip Hop in the post-Hip Hop generation: not confined by generational, cultural or regional boundaries yet still maintaining a brazen arrogance and pride that can only be a product of Compton, and a flow style that combines a plethora of different kinds of Hip Hop music from the last 10-plus years. From the sprinklets of social consciousness peppered throughout his rhymes that pays homage to old school East and West coast artists like Public Enemy and N.W.A., to the rapid-fire linguistics that remind listeners of Midwest rap heroes like Twista and Bone Thugs and Harmony, to the screwed and chopped voice manipulations that are a clear ode to the South. Kendrick refuses to have himself of his music marginalized into a box, and that desire to break away from the mold is constantly on display throughout Good Kid… .

Undoubtedly one of the best tracks on the album has to be “M.A.A.D. City” featuring West Coast O.G. MC. Eiht. Kendrick’s jittery, quivering yet focused flow about a day in the life in the Cali streets paired with a beat that starts out simplistically enough, then rolls into a vintage low-rider banger that harkens back to the heyday the West’s sometimes forgotten heroes Spice 1, Mack 10 and Eiht himself, will be enough to get even the most staunch Kendrick Lamar hater to nod their head. Also effective is “The Art of Peer Pressure”, a standard romp-through-Compton adventure that quickly evolves into Kendrick detailing the elements of drugs, violence and theft that gets him engulfed in the street life, and how both sides of his guilty conscience try to pull him in conflicting directions as he struggles with both his own inner demons and the desire to impress his homies.

On Good Kid, m.A.A.d city, Kendrick does better than many of his peers at finding that ever-elusive balance between radio jams and introspective songs that are heavy on reality. The current radio favorite “Swimming Pools”, along with “Poetic Justice” featuring Drake and “The Recipe” with Dr. Dre, will all bring the emcee more casual fans that may not have been following his career progress until now, while “Sing About Me, I’m Dying of Thirst” finds Kendrick contemplating the questionable choices he’s made and their impact on those around him, with his own brand of gut-wrenching self-deprecation and pity fully on display, and might just make believers out of those same casual fans.

Simultaneously, Kendrick pays more than enough homage to some of the West Coast’s most well-loved Hip Hop institutions, from sampling Janet Jackson on “Poetic Justice”, to the shades of 2Pac heard on “Sing About Me…”.

The greatest thing about Good Kid, m.A.A.d city is not only that it’s refreshingly cohesive and simultaneously multi-layered, but that it displays so many of the contradictions that Hip Hop too many times doesn’t want to admit that it has. True, other artists like Drake, Kid Cudi, J. Cole, Lupe Fiasco and others have been effective at doing this as well, but many times they seem to revel in them. Kendrick realizes and embraces those contradictions, but he doesn’t glorify them. He simply puts them on display as real as he knows how, and the end result is this body of work. While it’s very much a departure from Section.80, Good Kid… stands on it’s own as arguably the best concept album of 2012.


by Ronald Grant


Ladies & Gentleman this is the debut of #TURNITUPTHURSDAY!!! This is a showcase of up and coming talent and selfless self promotion and some well known talent. You will be privy to YOU HEAR IT FIRST singles and videos and in this debut edition you will be privy to a few tracks that have been released with lowkey buzz and a couple new ones, as well as, a new video from Jared Brady. Let’s get it!!

These are the first 2 singles from “A Cluttered Mind” by Trey Luva. Album coming soon…

Padded Walls feat Antwoinne & Tese Fever

Imagination – Trey Luva feat Antwoinne, Mina Leon & Sam3

This is the 1st single from “Heartbreak, Love & Everything In Between: The Warm-Up”

Gettin Em Remix feat Sammie & 2 Chainz

Grab your popcorn and take a seat as we introduce you to Jared Brady and “Runaway”

If you like what you hear feel free to reach out to the artist and let em know. Also make sure you tell em that you heard exclusively here at #EFTF. The artist spotlighted here can be found on Twitter, Facebook, etc.

Jared BradyTese FeverAntwoinneSam3Mina Leon and Trey Luva