Cut & Paste Vol. 2
Street: 11.01
Odetta= DJ Shadow + Metal Fingers Doom + Pete Rock + Dr Who Dat?
I’ve had the chance to thumb through some of Odetta’s vinyl collection and just about every record I touched had some inspiring funk sound or soulful sample. The guy simply doesn’t keep crappy records in his crates and this is what makes Odetta’s production so solid. The best way to begin making beats is with an unyielding base of samples and a vast record collection. Cut & Paste Vol. 2 contains over twenty-four jazz-infused beats that take you through some of the smoothest sounds ever put on vinyl. “Before My Tim,” was one of my favorite tracks, featuring a diverse array of samples and flowing string bass, but “Naturally” was the song that helped me ultimately decide that Odetta is among Salt Lake’s best producers. His music could make an MC sound dope, but speaks volumes on its own. Be sure to check out Cut & Paste Vol. 1 for more of Odetta’s spotless production.

Julio Child
Cocinando con…
Street: 10.14
Julio Child = Aloe Blacc + Ugly Duckling + Little Brother + Kanye West
The most impressive thing about this group is that both Fisch and Ebay Jamil write the music. While most of the album tightly grasps their hiphop origins, several tracks digress into acoustic ballads that almost sound like a completely different group. Julio Child may lose the attention of some hardcore hip hop fans, because of this transition on tracks like “A Long Cold Winter,” but they’re trying to create something original. A couple creative interludes take the listener on a musical trip, while some tracks end with short snippets of bonus beats. Ebay and Fisch’s voices are easily identifiable and they seamlessly blend and bounce verses like Double K and Thes One of People Under the Stairs. It is obvious that these two have put loads of time and effort into their music, which is why I’d compare the group’s sound to 9th Wonder. Fisch’s loop CDs that he creates with local producers Finale and Brisk show just how long he’s been at it. Fisch and Ebay have long been participating in Salt Lake’s music scene, but this is the first time the two have collaborated. B-boys and beat addicts alike will enjoy Julio Child’s hip hop roots twisted with future-soul sounds.

Definit Is Not Here
Street: 04.11
Definit= Gym Class Heroes + Brother Ali
The many chapters of Definit’s life have provided a wide array of experiences from which he constructs sincere rhymes. On this album he delves into religion, family drama, overdoses and the road to sobriety. As a sober member of the hip-hop community, you might assume that he’d be a little preachy, bur Definit rhymes about his experiences and his decisions, not about what anybody else should do. He turns to a variety of genres when sampling. The most beautifully composed, as well as my favorite track, “Far from Away,” contains pristine samples from Carol King’s “So Far Away.” Whether or not you can relate to the lyrics on this song, the beat will set you at ease. Track six, “Awake,” takes the listener through the mind of an addict choosing between life and death. While his music and rhyme styles reflect traditional hip-hop, his topics and themes advocate selfrealization and dealing with personal struggles. Despite his contradicting dual personalities, Definit’s creative production makes this album worth a listen.

Opey Tailor
Redheaded Stepchild
Street: 10.7
Opey Tailor= Twiztid + Eminem + Necro
Opey Tailor’s been known to spit variations of gangster rap and even love songs and on his latest album he’s got G-NO of 801INT producing the tracks. Though Opey got his name from people who used to clown on his resemblance to the redheaded, Andy Griffith Show character, Opey Taylor, he’s more like the Dennis the Menace of rap and only cares about his “I don’t give a fuck” image. As an unsigned artist, he’s free to express themes like “lovin’ fat chicks” and make controversial songs like “Fuck Ricky Martin.” It becomes hard to take Opey seriously when he refers to himself as “Ogden’s Walking Venereal Disease” but he proves himself as a serious artist on “Kill Me,” a song about how the record industry profits off of artists who have died. Opey references O.D.B., Mac Dre, 2Pac, and Kurt Cobain as artists whose record sales skyrocketed after their demise. Opey T. is another reason why many people are offended by rap music.