- Minding the budget
- Legwork to secure promotion of the album
- Choosing which songs make the album
- The order in which those chosen songs will be presented
Cheapening the title, though, have been the number of Diddy's albums "executive produced" by Biggie, or the fact that Kiam Holley (Capone) "executive produced" Noreaga's first solo album, while his only real involvement was a couple of phone skits from jail. Let us not forget the Charles Hamilton fiasco of last year, in which he named the late great J. Dilla the executive producer of his album. Keep in mind that many of you had to pause and say "who?" when I said the name Charles Hamilton, and all I can say is that he is the dude that Mary J Blige's stepdaughter punched in the face.
Oh, and he further fucked the whole process by claiming that he had paranormal contact with Dilla, who passed before Hamilton even got on.
Needless to say, I do not like Charles Hamilton's music, nor his tactics.
There was a time where the executive producer was quite naturally an individual closely related to and/or involved in the making of an album. Someone who had made some, most or all of the beats is a natural first choice, which is why De La Soul's first albums were so perfectly presented, with little need for the fast forward button.
Think of The Roots' albums before the last two (comparatively speaking), the albums were in the right order, correct songs chosen and you were even given a treat and a collection of funnies if you read the liner notes, especially WHILE listening to the albums. Hell, that even applies to the live and best-of albums as well, so long as you made sure you had a retail copy of it.
At the risk of -- but not personally caring if I do -- coming off as an aging asshole, it seems to me that the tenets of even ATTEMPTING to make a cohesive album these days is lost on anyone actually making music. Even those who have done it before.
The new standard of album releases to hip hoppers is the mixtape, which I have discussed at length recently. In addition to being the "get shit on the street NOW" approach to release of product, it also greatly dumbs down the necessity of creativity as well, since these are not necessarily "albums" so much as they are promotional tools. The problem, though, is that this approach is all that these new and young artists seem to know, so when it DOES come time to make an album all you have is a mish-mash collection of songs that probably were better served to the mixtape circuit with guest appearances by weed carriers and dorm room production.
So long as someone can say "YEEEEAAAAAAAHHH!" along to it and the drums are big enough to make ghetto chicks want to shake their asses then all is well, no?
The "mixtape-before-the-album" becoming the "mixtape-as-the-album" approach to this is becoming a bit of a drag on things. Further dumbing down of the genre, so to speak.
Again, what with the amount of product actually making it to the streets/internets, we cannot ignore or declare hip hop as "dead," as some so seem to want to put it. No, hip hop is not dead, it is alive -- though my conscience will NOT allow me to declare it "alive and well."
One of the tenets of what makes the hip hop that we -- or at least I -- love, though is dead and in the grave. So much that the aforementioned, who were among the most effective with it, are either laying fallow from their own volition, being ignored or conforming to this new standard.