Correction: Saturation III debuted at #15 selling 36K first week (25K pure) - HipHop | HipHop Channel

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Correction: Saturation III debuted at #15 selling 36K first week (25K pure) - HipHop

Correction: Saturation III debuted at #15 selling 36K first week (25K pure) - HipHop

Correction: Saturation III debuted at #15 selling 36K first week (25K pure)

Posted: 26 Dec 2017 01:56 PM PST

[FIRST IMPRESSIONS] Lil Wayne - Dedication 6

Posted: 26 Dec 2017 06:22 AM PST

What do you guys think?

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A look back to D'Angelo's Black Messiah, three years later.

Posted: 26 Dec 2017 09:35 AM PST

He signed two of the records that redefined R&B and soul during the nineties - Brown Sugar in 1995 and Voodoo five years later - and then, vanished. For the last fifteen years, Michael Eugene Archer's work had been counted collaborations in other people's work, like J Dilla, Q-Tip, Common or Snoop Dogg, a few tours and tons of problems -sentimental, legal, accidental- that seemed to condemn him to the altar of the great accursed on music. The intermittent rumours of his comeback -years and years of talking about a James River that should have been his third album- were giving rise to hope, albeit not on their own terms: D'Angelo didn't say a thing and it was close friends and collaborators -Questlove from The Roots, basically- who allowed us to keep the faith. Finally, two things happened that made D'Angelo release Black Messiah: first, James River turned into Black Messiah, and instead of the intended release in 2015 it got released in a very late 2014, December 15th, justified by the boiling hot political situation in the USA. That brings up the first and obligatory point when it comes up when talking Black Messiah: politics.

"Black Messiah is a hell of a name for an album. It can easily be misunderstood. Many will think it's about religion. Some will jump into to the conclusion that I'm calling myself a Black Messiah. For me, the title is about all of us. It's about the world. It's about an idea we can all aspire to. We should all aspire to be a Black Messiah."

"It's about people rising up in Ferguson and in Egypt and in Occupy Wall Street and in every place where a community has had enough and decides to make change happen. It's not about praising one charismatic leader but celebrating thousands of them. Not every song on this album is politically charged (though many are), but calling this album Black Messiah creates a landscape where these songs can live to the fullest. Black Messiah is not one man. It's a feeling that, collectively, we are all that leader."

In the first words in the booklet of Black Messiah, D'Angelo explains that Black Messiah is not a hero, a leader, or him; he is no Nelson Mandela, Martin Luther King or Malcolm X, D'Angelo is just a musician who wants to reflect the current situation. And that is shown in 1000 Deaths, the second song in the album, that showcases the pacifist position of D'Angelo. It first starts with a sample from a 1995 debate between Khalid Abdul Muhammad and Anthony J. Hilder called "The Origin of Jesus Christ: Myth or Reality". This sample is a 83 seconds intervention of Khalid, whose argument is based on how Christ was not the 'blond-haired, blue-eyed, pale-skinned, buttermilk complexion Christ', but actually a black man, the black messiah:

I'm talking about the Jesus of the Bible, with hair like lamb's wool. I'm talking about that good hair, I'm talking about that nappy hair. That his body would be like beryl. Another scripture said his body would be like jasper. Another scripture said his body would be like fine brass, as though it had been burned in an oven. Jesus: the Lord, the Savior, the Master, the Redeemer. Jesus, the Black revolutionary Messiah.

And that was later addressed on Muhammad's Kean University intervention: It's the white man- the white man got a God complex. That's what names Black Messiah, not only the sense of community, but the sense of an afrocentric community. And that sense shined during the protests after the deaths of Eric Garner and Michael Brown, months prior the release of Black Messiah. Before this skit ends another sample kicks in, this time from Fred Hampton, a deputy chairman on the National Black Panther party. Threatened by the FBI, he was murdered on December 1969, and months prior to his death he gave a speech where this sample comes from:

"Black people need some peace, white people need some peace. And we are going to have to fight, we're going to have to struggle, we're going to have to struggle relentlessly to bring about some peace because the people that we're asking for peace, they're a bunch of megalomaniac war-mongers, and they don't even understand what peace means. We've got to fight them, we've got to struggle with them to make them understand what peace means."

It's ironic how precisely he got murdered by those 'megalomaniac war-mongers'. But that's what matters in this skit, the sense of unity of communities to get the best for everyone. It's not about black vs white, it's about people vs power.

And then we get to the actual song. Over guitars and muddy funk, D'Angelo's distorted voice sings from two different perspectives, giving two meanings to 1000 Deaths: first, he sings as a soldier who is sent to the war and fears how his death is so near, but it also is from the point of view of Jesus before his death. The hill he mentions can be taken as the hill before the battle field, or the hill where Jesus was crucified. The soldier is thrilled, and so is Jesus, but both believe it's from a larger good (winning a war and bringing peace or following God's will).

Later in the chorus, D'Angelo mentions once again a extract of Khalid Abdul Muhammad, and once again in his Kean university speech:

"Jesus the Black Revolutionary Messiah said, "He or she who seeks to save their life shall lose their life. He or she, yet out of wisdom, but he or she who does not fear death shall save their life." A coward dies a death a thousand times maybe in one day, a coward is dying all the time. But when you can look death in the face and snatch death's tongue out of death's mouth and rebuke the grave, rebuke the grave!"

Because a coward dies a thousand times
But a soldier only dies just once
Once, once

Then in the third verse, D'Angelo names God and Jesus again, but through their hebrew names: Yahweh and Yeshua. But in the second line he goes back to the war: 'he don't want no coward soldier', and that's what D'Angelo really wants to say with this song, mixing politics, revolution, war and faith: God and Jesus only want the best for us, and want us to be free. The sense of community comes back, compared to Jesus: for him being a messiah is not being a leader, but being a martyr, someone to guide the people through bad moments and being an example.

But as he says, not everything in Black Messiah is about politics. Sometimes it's personal issues. The spark that ignited these issues was the video for Untitled (How Does It Feel), Voodoo's third single. Inspired by Prince's work, the video was released few weeks before the release of Voodoo and the airplay helped to increase the single's and album's popularity due to its heavily controversial content: D'Angelo bare naked, lip-syncing and doing gestures. All of this made D'Angelo a sex symbol, leading to frustration on his part. In the Voodoo tour, which lasted for six months, many women in the audience asked him to get naked and in general things that made him feel uncomfortable. One thing lead to another, and he ended up wanting to lose his fit figure, he wanted to get fat, to lose his sex symbol position. Months after the tour his friend Fred Jordan commited suicide, in April 2001, which lead to heavy alcoholism. 4 years later and after more alcoholism and drug abuse, his girlfriend had left him, he lost contact with most of his family and parted ways with his managers and attorney. One album was scrapped around that time, which apparently sounded like "Parliament/Funkadelic meets the Beatles meets Prince, and the whole time there's this Jimi Hendrix energy". After being arrested for possession of marijuana and cocaine, mugshots of him began to circulate. The muscular and sexy D'Angelo wasn't there anymore, just an unhealthy and overweight version of him. Weeks after being sentenced for drugs charge, the infamous car crash happened. After that, he went into rehab.

Two years of radio silence ended with Questlove playing a new song, Really Love, in an australian radio. Because the center of the personal issues of D'Angelo, and who saved him, was Questlove. Him and Amy Winehouse. Both had been friends for a long time, and intended to form a group with Mos Def, but the sudden death of Amy stopped them. Following her death, Questlove begged D'Angelo to stop the ten year process of self-destruction he had been going through. He didn't want him to end up like many 'cursed stars', like Kurt Cobain, Aaliyah or Amy Winehouse herself. These words were what changed D'Angelo's path, and around that time he went back to recording again, this time with Pino Palladino, James Gadson and Questlove. Almost at the same time, D'Angelo goes back on tour and plays some new songs live, like Sugah Daddy and The Charade.

The personal issues are what matter on Black Messiah after all. D'Angelo went on a 15 year journey to a personal hell, and came back to tell everyone about it. The topics of love in many forms are spread through the album and the sound mixes influences in its torrid and thick funk, with obsessive guitar riffs, big basses, choirs that answer D'Angelo's voice. The layers of sound overlap and disappear at will, with groovy pianos, precious strings, harmonical claps. Really Love stands out, starting with a female voice in spanish over strings and following with a beautiful acoustic guitar that progresses into latin rhythms, and D'Angelo offering one of his best vocal performances.

Finally, the Black Messiah booklet ends with a few words in caps:

ALL WE WANTED WAS A CHANCE TO TALK.

'STEAD, WE ONLY GOT OUTLINED IN CHALK.

This is part of the chorus to The Charade, another one of the political tracks in the album. It's one of the most hard-hitting because of how direct it is, referencing how many oppressed communities (black, latin communities) have had to fight and die to be able to get some basic rights like voting, which in many cases conservative parties have been trying to deny, like republicans on Florida. Once Black Messiah ends, there is not much to say other than it being a proud lesson in history and a superb message about the radiant present of an artist who long ago seemed lost yet now sounds more alive, inspired and needed than ever.

submitted by /u/VodkaInsipido
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Google Groups discussion from 2002 about Eminem getting soft after The Eminem Show.

Posted: 26 Dec 2017 02:54 PM PST

Charlamagne Tha God & Joe Budden Presents: This Year Was Dope Trash 2017

Posted: 26 Dec 2017 08:07 AM PST

Jaden Smith announces that he will release a "book of poetry" next year

Posted: 26 Dec 2017 05:33 PM PST

Rick Ross - Sanctified ft. Kanye West & Big Sean

Posted: 26 Dec 2017 05:27 PM PST

Daily Discussion Thread 12/26/2017

Posted: 26 Dec 2017 05:00 PM PST

Welcome to the /r/hiphopheads daily discussion thread!

This thread is for:

  • objective questions with right/wrong answers (e.g. "Does anyone know what is happening with MIXTAPE?", "What is the sample in SONG?")
  • general hip-hop discussion
  • meta posts...e.g. ideas for the sub

Thread Guidelines

  • Do not create a separate self post for these types of discussions outside of this thread - if you do, your post will be removed.

  • Please be helpful and friendly.

  • If a question has been asked many times before, provide a link to a thread that contains the answer.

Other ways to interact

There are a number of other ways to interact with other members of HHH:

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[FRESH] Rich the Kid - Perplexing Pegasus Remix

Posted: 26 Dec 2017 10:16 AM PST

[FRESH VIDEO] Yung Bans - Lonely (ft. Lil Skies)

Posted: 26 Dec 2017 03:00 PM PST

[FRESH] Madeintyo - Madeinboomin (Prod. Metro Boomin)

Posted: 26 Dec 2017 06:27 AM PST

I wrote up a review for 21 Savage, Offset, and Metro Boomin's collab tape, "Without Warning," as one of my 2017 Albums of the Year.

Posted: 26 Dec 2017 09:37 AM PST

Mike Will Made-It Responds to Gangsta Boo Accusing Rappers of Stealing From Three 6 Mafia

Posted: 26 Dec 2017 02:46 PM PST

Tommy Wright III - Meet Yo Maker

Posted: 26 Dec 2017 04:49 PM PST

[FRESH] Lloyd Banks - Untouchable freestyle

Posted: 26 Dec 2017 07:09 PM PST

Gun Thought to Be Used in Tupac Shakur Murder Destroyed by ATF

Posted: 26 Dec 2017 01:56 PM PST

Da$H - "MEANS" [OFFICIAL MUSIC VIDEO]

Posted: 26 Dec 2017 11:35 AM PST

[FRESH] Famous Dex- A Must ft Trippie Redd

Posted: 26 Dec 2017 05:21 PM PST

Ab-Soul - YMF

Posted: 26 Dec 2017 10:20 AM PST

[Discussion] The Growth of Gucci Mane

Posted: 26 Dec 2017 05:07 PM PST

Weekly [Fresh] Bot

Posted: 26 Dec 2017 08:42 PM PST

Is there anyway to reactivate/recreate the bot? The messages and post were so awesome, aggregating each day's fresh posts which hit a certain upvote or comment threshold (for those that don't know)

submitted by /u/bananaboatfloat22
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SpaceGhostPurrp - Suck A Nigga Dick For 2011

Posted: 26 Dec 2017 11:27 PM PST

[FRESH] Mike Will Made It - Instrumental Tuesday’s 2017

Posted: 26 Dec 2017 08:09 PM PST

Mick Jenkins - The Artful Dodger (Prod. by Kaytranada & THEMpeople)

Posted: 26 Dec 2017 03:26 AM PST
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