Album Of The Year #15: Joji - Nectar - HipHop |
- Album Of The Year #15: Joji - Nectar
- Daily Discussion Thread 01/04/2021
- Open Mike Eagle - For DOOM
- Rich The Kid ghosts graphic designer after she completes cover art for him
- 6LACK - Pretty Little Fears ft. J. Cole
- Eminem says he doesn't remember recording the "I side with Chris Brown, I'd beat a bitch down, too" verse
- Pitchfork reviews Playboi Carti's Whole Lotta Red
- 5 Favorite MF DOOM Verses - fantano
- Pitchfork: 10 Songs That Show Why MF DOOM Was the Ultimate Rapper’s Rapper
- Bobby Shmurda Could Get Out of Prison in February if He's Good
- Piñata Film Adaptation!
- MF DOOM on why he wears the mask
- The Making Of MF DOOM's "?" and "Dead Bent" Videos
- ScHoolboy Q - Yay Yay w/ Mac Miller (Pop-Up Show Performance)
- Harry Fraud
- Cover art and tracklist for Griselda's CONFLICTED movie soundtrack dropping 1/8
- [SHOTS FIRED] "TALK THAT SHIT TO ME!" Snoop Dogg responds to Eminem on IG Live
- Full version of REASON's Extinct Ft. MF DOOM at the end!
- [FRESH] Westside Gunn, Smoke DZA & Wale - The Hurt Business
- Deep Cuts - MF DOOM Was a True Original
- 3rd Bass - The Gas Face ft. Zev Love X (RIP MF DOOM)
- [FRESH] Conway the Machine X Big Ghost Ltd - Toast
- [DISCUSSION] Dead Prez - Let's Get Free (20 Years Later)
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- 03 Greedo & Kenny Beats - Beg Your Pardon feat. Maxo Kream (Official Audio)
- The Underachievers - Take Your Place
| Album Of The Year #15: Joji - Nectar Posted: 04 Jan 2021 05:52 AM PST Artist: Joji Album: Nectar Label: 88Rising Release Date: September 25, 2020 Listen: Background Not many artists have had a come-up as interesting and eccentric as George Kusunoki Miller, a former YouTube comedian/edgelord turned moody R&B singer. George first got his taste of internet fame as FilthyFrank, a character he described as everything a person should not be, he played the notorious persona on YouTube for over 6 years and eventually had to retire it due to him losing passion for it and suffering from stress induced seizures, which playing the character often caused. Throughout his time as FilthyFrank however he began experimenting with music, mostly of the satirical kind at the start, his first tracks were under the FilthyFrank persona, the first one being Who's The Sucker, a dumb track where he somehow manages to rhyme "nicer" with "vagina", go figure. A few years later, alongside the satirical rap, Joji began to make what he would consider as serious music, and this is where the timeline gets a bit messy, as he put out multiple tracks under multiple different aliases and the lines got blurred pretty fast, so I won't focus on aliases too much, but rather on the music he put out, around this era he released the therapeutical Medicine, the slow and melancholy We Fall Again, and Dumplings, which was Joji's best attempt at a trap banger. In 2015, he birthed the Joji alias, released two singles on Soundcloud under that name, and announced a project called Chloe Burbank Vol. 1, the project was later scrapped and is probably sitting on Joji's hard drive, unfinished, however, the two singles he put out, thom and you suck charlie, were the tracks that put him in the spotlight, not to mention that to this day, there are some of his fans that believe these 2 tracks are his best and will not be topped, but that's a discussion for another day. Following the overwhelmingly positive reception, Joji began to put out more tracks and singles, both under the aforementioned alias and Pink Guy, which was a character that blossomed into a satirical rap project, but I won't be covering that too much, and will focus on what he did as Joji instead, most tracks Joji put out were met with positive reception, some of the tracks, such as worldstar money, ended up on his debut EP as well. Sometime around early 2016, Joji ended up signing with 88rising, a label focused on building the bridge between east and west, he explained in an interview that he was initially a consultant for the duo behind the record label, however, once the duo noticed his music and how well it was received, they asked him to jump on board and he instantly took the chance, getting signed alongside the likes of Rich Brian and Higher Brothers. The label immediately undertook Joji and began distributing his catalog on their YouTube channel and helped him release more music, which was a couple of singles in the earlier half of 2017, and his debut EP in the latter half, the EP, known as "In Tongues", was met with mixed reception from fans and critics alike, with some describing it as his most concise body of work so far that is oozing potential, and others describing it as a bleak project that fails to set Joji apart from the sea of artists on the same wavelength as himself. Following the release of the EP, Joji began working on his debut album, known as BALLADS 1, the album's first single, YEAH RIGHT, was released on the 8th of May, the track was first believed to be a standalone loosie as it was released 5 months before the album itself, however it ended up being on the album and was confirmed as the one of the singles alongside SLOW DANCING IN THE DARK, CAN'T GET OVER YOU, which features a production credit from non other than Clams Casino, and TEST DRIVE. The album was well received, and was praised for containing a wider variety of sounds than its predecessor, it felt like a natural progression for Joji's sound and was a step forward towards a more mainstream approach whilst not sacrificing any of the rawness that Joji's older stuff had, which seemed to be what most fans were expecting from him. Moving forward Joji stayed mostly silent throughout 2019, appearing on the second 88Rising collaboration album, which was negatively received due to it's lack of creativity and sub-par performances from most label signees, he also appeared on Rich Brian's sophomore album, The Sailor, and released which is now known to be as the first single from Nectar, Sanctuary, a synth based poppy track that previewed a vocally improved and more confident version of Joji. What was assumed to be a loosie turned out to be the beginning of an album rollout, as half a year later Joji released Run, setting a new standard for himself both instrumentally and vocally, and a couple of months later he released Gimme Love, a double sided track with a fun, catchy beginning and a melancholy ballad driven ending, the last single, Daylight, was released on the 8th of August, the instrumental was produced by Diplo and the track itself sounded like Joji's attempt to break into the mainstream. Without warning, he also released two tracks that he classified as "NOT SONG", the first being Pretty Boy, which actually ended up on the album with a Lil Yachty feature, and the second being FTC, which sadly did not end up on the album, both tracks had videos and it seemed to me at first that the purpose of both tracks was to serve the lore that Joji has built around the album, which I will be touching up on in this write-up. A day before the album's release, he put out Gimme Cum, an enigmatic track with a mysterious message. Nectar itself was pushed back from it's original July release date due to the pandemic and Black Lives Matter protests, the album however was released on the 25th of September. Album Lore If there's one thing George is no stranger to, it would definitely be worldbuilding, as he has proven time and time again that he has a knack for it, especially with his FilthyFrank YouTube channel, where he managed to create characters, locations, and an entire universe out of a few satirical characters, his lore was adored by many and even though visually he never wrapped up the story he did release a book that served as closure for the FilthyFrank lore. This album's lore is not as straight forward however, and there are multiple theories doing the rounds on the internet, personally I will go by what sounded most convincing to me in terms of timeline and storyline, however do feel free to expand on what I've said or correct me, George has left multiple things left open to interpretation therefore I would not be surprised if there were multiple different meanings to the same thing. Our story begins in the music video for Gimme Love, where we see a young Joji who appears to be a small time engineer that is eager to climb through the ranks of the company he is working for, as he rises however he appears to become more stressed out and agitated at all times, lashing out at his coworkers and breaking down consistently, throughout the music video we can see that the more he progresses, the more roadblocks he runs into, which causes his behavior to become more psychotic and manic, as the shots move forward we see him accept awards, lead his very own research team, run failed experiments on his coworkers that causes them to bleed, and eventually receive military covert status, which did not come without sacrifices, as we see him smile less and less throughout the video. In the second half of the video, we see Joji steal the rocket he helped build by locking out his crew members, and launch himself into space, disappointing everyone he worked with and stabbing them in the back he appears to be quite happy however, eventually his mood flips as he is faced with two choices, engage or eject, the following shot does not allow us to see which one he picked as we are facing his back, all we see is Joji making the choice and gearing up for what's to come. The lines get blurred around this spot and many people have different theories as to which video is the right one chronologically, personally I believe Daylight comes next, and my theory is Joji is having some sort of fever dream featuring his previous coworkers, most notably the older people who went through layers of plastic surgery, who appear in the music video for FTC, where they are seen wearing badges that features the same organization Joji worked for, throughout the video they are seen rummaging through the wreckage caused by Joji, clearly looking for something specific, which ends up being the award Joji won. Back to Daylight, Joji appears to be some sort of intern working for the director and the actors, towards the end of the music video we can see Joji waking up from the aforementioned fever dream, clearly in a daze, as the shot widens we see that he is alone, in a barren wasteland, with nothing around him except for a tent and what appears to be a device used for communication, he plants a few seeds in the soil and sits by the device, hoping for a sign of life. Next comes Run, where we are once again met with Joji having a nightmare, the entire video symbolizes being trapped in a place you don't want to be in, as Joji appears to be in a never ending limousine with people he has no interest in whatsoever, towards the end of the nightmare we actually see Joji running across a massive wasteland, the same wasteland we saw him in at the end of the Daylight music video, throughout the video, we see Joji become consumed by the soil itself, which I would assume is a representation of his fears back then, seeing as he was alone and had little to no hope of being saved whatsoever. Joji wakes up from this nightmare and appears to be in some kind of spaceship, if the videos were released chronologically, we would be completely lost at this point, lucky for us, we already know what the spaceship is, as we see a picture of the Sanctuary crew in the final shots of the Run music video, I'm gonna go out on a limb here and say that the crew is the ones that saved him from death and picked him up from the mess that he placed himself in, hence the name Sanctuary, which means refuge or safety from pursuit, persecution, or other danger The crew itself is seen in action in the music video for Sanctuary, where Joji appears to be fighting and defeating some sort of one-eyed alien supervillain at the start, however, once he is defeated, both Joji and the crew themselves become aimless, as they are living monotonously without a goal, thankfully(???), one of the crew members sees this and decides to take matters into his own hands, by surgically removing his own eye, which portrays his transformation into the new supervillain, and following this up by killing a crewmember and escaping on his own, once again giving the spaceship it's own purpose. Unfortunately the music videos that were put out after the release of the album appear to be too subtle for me to think they are connected in any way, shape or form, there are many theories of course but I can't help but feel like that most of them are a reach. The most plausible explanation for this lore that I can think of is that the whole escaping from earth on his own, landing in a barren wasteland, trying to plant seeds in it, and eventually being picked up by a group(88Rising, wink wink) is a metaphor for his transition from FilthyFrank to Joji, the barren wasteland stands for how hopeless he felt at the time and the seeds symbolize the loosies he was slowly dropping before ditching his channel to become an R&B superstar, which if true, solidifies the idea that George was done with FilthyFrank long before he actually left the channel itself. Regardless, I thought the lore was very enjoyable and it was nice to see Joji back in one of his elements at least, most fans would have been disappointed in me if I had not touched up on it a bit seeing as it was a huge part of the albums release and they are intertwined in some sort of way. Review
It is important for me to preface this review with the fact that this Joji album is not like anything we've ever heard from him before, this is not the one man army, garageband using, sample meshing Joji that we knew in the past, this is Joji with an entire team behind his artistic vision, a whole group of people working with him to help him push his sound to the next level, and unfortunately, while the quality of the music has clearly went up, when so many people have their own input on something eventually the lines get blurred and the album loses its artistic direction and cohesion, which is one of my only complaints with this album, and I'm glad I got it out of the way first. Artistic direction and cohesion aside, this album contains some of Joji's highest highs to date, especially the singles, that's not to say that there aren't some deep cuts on here that shine as well, but once you listen to the album in it's entirety you quickly understand why the singles were chosen as singles, especially when you consider how sonically different they are from the non-singles. Sanctuary, the album's first single, is a sweet, poppy and synthy track that features a high pitched and melodic Joji, some of the track's lyrics are somewhat abstract but they are quite visually descriptive and that's always a plus in my book, the instrumental itself is quite spacey and has a nice retro vibe to it, already a huge step forward from what we've already heard from George, the track's climax reaches towards the end and gives us a beautiful bridge,with Joji crooning about wanting to be held by a significant other.
Run is one of the more cinematic cuts on this album, the track is truly a double edged sword because although it's one of Joji's best, it has set an extremely high standard for both Joji and the album, leaving fans such as myself worried about whether or not he will ever reach a similar high, the production is clean, Joji's vocal lines are as dynamic as ever, the guitar melody is infectious, the lyrics are better than anything Joji has ever written and he is putting his heart and soul into every word, the electric guitar solo at the end is also something worth mentioning, which sits perfectly right in front of Joji's distant and wide vocals, ending the track on a strong note.
The lyrics above come from the album's third single, a 2 sided track that starts as a bouncy, percussive, fast paced, and catchy song, with Joji chanting and pleading to be given love, softly singing about being surrounded by apathetic people, after the second chorus the entire song comes to a halt in order to make room for a mellow guitar and Joji's harmonies, which are absolutely stunning if I may add, the track, much like many other tracks on here, ends on a cinematic strong note with a string section and a grandiose piano. The final single, Daylight, is no doubt unexplored territory for Joji, the instrumental, which was produced by Diplo, starts off slow and minimalistic, with a simple yet groovy bassline, and reaches its apex on the chorus, when it suddenly becomes extremely lush, heavy, and thick, the track is most definitely a solid attempt at modern day and mainstream pop music, clearly made with the intention of receiving radio play. All of the singles show up in the first leg of the album, which is absolutely phenomenal, the opener track, Ew, starts off light and easy, with a somber and distant arpeggiated piano backed with Joji's soft vocals, who's singing about heartbreak and the loss of many relationships, sounding as bitter as ever lyrically, the chorus includes a grand string section and a chord progression that is fully panned to the right and sitting all the way behind the mix, and surprise surprise, the track itself ends on a cinematic strong note, much like many of the other tracks on here.
Up next comes MODUS, a moody track that has an intro similar to the opener track but later on has Joji melodic rapping to a murky trap instrumental, with Joji of course sounding better than ever, lyrically speaking, many of the themes on this album are similar, Joji is mostly singing about relationships, heartbreak, and the need for a significant other, the lyrics themselves give the album a nocturnal, bitter, hopeless vibe, which is what we've come to expect from Joji's music nowadays. The third track, Tick Tock, is a plucky banger of an instrumental that has Joji rapping over it with pitched up vocals on the chorus which is something that's a little bit reminiscent of his older, more amateur work, the vocal layering on the verse is also something worth mentioning, really showcases Joji's dynamic range and how much he improved as a whole, the track is nothing groundbreaking in terms of what we've heard so far and remains lowkey for the most part but is without a doubt one of my favorites on this project.
While not officially announced by Joji himself, it is safe to say that Upgrade is the aforementioned track, a small interlude that seats itself in the earlier part of the album, the track starts with a grandiose piano, which is quite unnecessary if you ask me, because once we have it out of the way all we get is a very obviously barebones instrumental made from a different time, the telltale sign being non other than the ukulele that we have seen in George's earlier work. It upsets me that Joji has not made this fact much more known because this track has been consistently the subject of criticism by critics and fans alike, but at the same time I understand, because at the end of the day George left that track in there for the die hard fans, not the critics. Up until this point there is no doubt that Joji has played it safe, sure the album is much more grand and cinematic than its predecessor, but there's no denying that the signature sound is still there, we still get the hazy and moody slow bangers, if Nectar was only the first half then Joji might have had a strong album in his catalog, maybe even a classic, but I understand him wanting to expand and experiment with other sounds in order to grow as an artist. The midsection gets a little bit tricky, as Joji begins to get out of his comfort zone and the album features start appearing, to me it sounds like Joji did not know how he could keep the listener interested in the second half of this album and decided to opt in for a bunch of features as a quick fix, some work out fine, some better than others.
I never really listened to Lil Yachty that much aside from the obvious hits he had over the course of his career, but he clearly shined on this track as the feature, for starters, the track is very light-hearted, definitely one of the more lofi tracks on this album, the highlight for me without a doubt is the bridge, which sounds like something straight out of Pink Season, George was clearly having genuine fun with it, some even speculate that most of the bridge was made using samples from his earlier work as Pink Guy. High Hopes, which features Omar Apollo, is one of the more lowkey cuts in here as well, the percussion on the instrumental and the detuned guitar on here remind me of some of Joji's stuff from BALLADS 1, unfortunately however the track doesn't stand out much, at least not as much as Afterthought with BENEE, another track where Joji's melodies and vocals shine through once again, and BENEE's feature definitely adds some character to the track, at least enough to the point where the feature made some sense On Normal People, Joji recruits childhood friend rei brown, in an attempt to capture lightning again after their first collaboration, Once In A While. Unfortunately lightning didn't strike twice here for me and the track felt quite lackluster and uninteresting, especially for such an anticipated track and when compared to their first song, many of the tracks and collaborations on the second part of the album really felt like Joji just trying to recapture the magic of his earlier work, and while some of those attempts did work at the end of the day it does feel like a cheap cop out.
Another example of Joji attempting to recapture magic is NITROUS, which marks Joji's second time collaborating with Clams Casino, the track is very reminiscent of their first track together, both Joji and Clams Casino however killed it, the track's instrumental is very murky and nocturnal, much alike most of the album, but that doesn't stop Joji's delivery, which is very fun-loving and upbeat.
Produced by the one and only Kenneth Instrumentals, Mr. Hollywood is one of the more heartfelt and personal tracks on this album, Joji is singing about his evergrowing popularity and how it will never affect what is important for him, which in this case is the girl he's singing about, like many other tracks on this album, you will often hear something that will remind you of Joji's older work, in this case it is the ad-libs on the chorus, which are very reminiscent of his ad-libs on BESIDJU, regardless the song has at least a bit of substance which makes it one of the more commendable tracks. The final run of this album is where Joji flips the script here, there are a few tracks that have questionable artistic decisions, such as Reanimator, with non other than Yves Tumor, the track serves as an instrumental interlude before the final two tracks, however with a feature such as Yves Tumor I honestly expected much more than what we got, and what we got is basically a 3 minute track, with the first minute and a half being nothing than a drone-y, synthy instrumental, and the second half being quite a lackluster performance by Joji and his guest, much like some of the other tracks on the album, it seems like it received a similar treatment, where the track was initially unfinished and still half-baked, and rather than attempting to finish the track they opted for an easy way out, which in this case was making more than half of the track an instrumental and then calling it an interlude just to be safe.
I would be down to argue that if Blinding Lights by The Weeknd had not existed, 777 wouldn't have existed either, Joji's constant attempts at breaking into the mainstream and commercializing his sound have always left a bad taste in my mouth as it felt like it came from a place where authenticity is lacking, nevertheless I find it bizarre to make a track that is very similar to one of the most successful tracks of the year and not attempt to push it at all, that's not to say that 777 on it's own is not a good track, however there's no denying that the sound selection on the instrumental, some of the flows, and the chorus itself hold blaring similarities to The Weeknd's track, I understand why he would make such a track however and find it admirable at the very least. Thankfully, the album ends on a strong note, the final two tracks are both beautiful even though they're worlds apart, Like You Do, is a quintessential love ballad from Joji, a stripped down instrumental with beautiful piano chords and a laid back vibe, Joji is singing about his current partner and how what they have might not work out, even though he feels like they're perfect for one another, the closing track, Your Man is a massive change in tempo, with an upbeat, electronic, deep house-esque instrumental, we hear a Joji that is optimistic, which is a nice change of pace, especially considering how bitter most of his albums and projects have been up to date.
Conclusion There's no denying that some tracks on here sound like a bastardized version of Joji's signature sound. Joji is trying his best to commercialize his sound without sacrificing the rawer elements of it, which unfortunately results in a jumble of sounds. This album is not free of criticisms as there are many issues in here that need to be worked on, it's much less cohesive than its predecessor and at times sounds like a bunch of rough ideas put together in order to create the world's most average musical equivalent of a photo collage, but if we were to just set all of that aside and just look at this album for what it is, then there's definitely something in here for everyone. George might have not made a classic, and he certainly hasn't found his sound yet, but this album is an indicator that he's on to something, and once again I am already anxious to hear what he has in store next. Talking Points
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| Daily Discussion Thread 01/04/2021 Posted: 04 Jan 2021 03:57 AM PST Welcome to the /r/hiphopheads daily discussion thread! This thread is for:
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| Posted: 04 Jan 2021 08:59 AM PST |
| Rich The Kid ghosts graphic designer after she completes cover art for him Posted: 04 Jan 2021 11:56 AM PST |
| 6LACK - Pretty Little Fears ft. J. Cole Posted: 04 Jan 2021 03:53 PM PST |
| Posted: 04 Jan 2021 05:15 PM PST |
| Pitchfork reviews Playboi Carti's Whole Lotta Red Posted: 04 Jan 2021 10:08 PM PST |
| 5 Favorite MF DOOM Verses - fantano Posted: 04 Jan 2021 01:58 PM PST |
| Pitchfork: 10 Songs That Show Why MF DOOM Was the Ultimate Rapper’s Rapper Posted: 04 Jan 2021 11:16 AM PST |
| Bobby Shmurda Could Get Out of Prison in February if He's Good Posted: 04 Jan 2021 04:06 PM PST |
| Posted: 04 Jan 2021 07:19 AM PST Hi all! I'm new to the subreddit, and I consider myself a big hip hop nerd. But before that, I'm a film lover, and a screenwriter. As COVID and the quarantine commenced, I found myself in the midst of a Madlib fad, and quickly found myself INFATUATED with both Piñata and Bandana, the efforts of Madlib and Freddie Gibbs. To make a long story short, my film-wired brain began creating some visuals and connecting some dots with Piñata specifically, and I began working on an outline. That was a few months ago, and as of the first of the year, I can finally say I have a final product of a script. I pitched the idea in an email to Ben Lambert, management for Freddie Gibbs and have yet to hear back, so in the meantime I've been posting this on r/FreddieGibbs and r/Madlib as well as here in hopes of getting some traction! My idea here is to create a bridge from the content of hip-hop music to that of the visual medium. Music videos have danced on this line for a long time, and I feel like this project offers a fantastic journey into that realm of thinking. This is an original story, inspired and revolving around the themes and story elements presented within Piñata the album. With that being said, I'll drop the link to it below if you want to read it. I'm excited to hear what y'all think! https://drive.google.com/file/d/1OSbVEzYn-ibDhc30kxoiY0chZFojknAY/view?usp=sharing [link] [comments]  |
| MF DOOM on why he wears the mask Posted: 04 Jan 2021 11:04 AM PST |
| The Making Of MF DOOM's "?" and "Dead Bent" Videos Posted: 04 Jan 2021 11:36 AM PST |
| ScHoolboy Q - Yay Yay w/ Mac Miller (Pop-Up Show Performance) Posted: 04 Jan 2021 10:07 AM PST |
| Posted: 04 Jan 2021 10:01 PM PST I feel like Harry Fraud is one of the best producers of the last decade, he's done some of the best beats and remixes ive ever heard, i mean the man produced "Bird on a Wire", one of the best beats ever in my opinion, anyone else a Harry Fraud fan? [link] [comments]  |
| Cover art and tracklist for Griselda's CONFLICTED movie soundtrack dropping 1/8 Posted: 04 Jan 2021 11:31 AM PST
3:30 in Houston is already out, Hurt Business will be dropping tomorrow [link] [comments]  |
| [SHOTS FIRED] "TALK THAT SHIT TO ME!" Snoop Dogg responds to Eminem on IG Live Posted: 04 Jan 2021 08:21 PM PST |
| Full version of REASON's Extinct Ft. MF DOOM at the end! Posted: 04 Jan 2021 02:20 PM PST |
| [FRESH] Westside Gunn, Smoke DZA & Wale - The Hurt Business Posted: 04 Jan 2021 09:00 PM PST |
| Deep Cuts - MF DOOM Was a True Original Posted: 04 Jan 2021 06:29 AM PST |
| 3rd Bass - The Gas Face ft. Zev Love X (RIP MF DOOM) Posted: 04 Jan 2021 10:16 AM PST |
| [FRESH] Conway the Machine X Big Ghost Ltd - Toast Posted: 04 Jan 2021 10:38 AM PST |
| [DISCUSSION] Dead Prez - Let's Get Free (20 Years Later) Posted: 04 Jan 2021 10:41 AM PST Let's Get Free is the debut studio album by hip-hop duo dead prez. It was released February 8, 2000 on Loud Records. It received acclaim. OverviewThe record opens with a speech by Chairman Omali Yeshitela, of the International Peoples Democratic Uhuru Movement, describing a method of hunting which lures wolves to suicide, and makes the analogy to self-destruction fueled by crack in the black community. The duo's radical African Internationalism is established on the album's first rap, "I'm a African", which contains the lyric "I'm an African/Never was an African-American". The same song explains their musical stance as "somewhere between N.W.A and P.E.", referring to the two major hip-hop groups of late 1980s hip hop, West Coast's N.W.A, and East Coast's Public Enemy. "They Schools" assaults the dominance of whites in the public education system in the United States, from the accusatory title to the opening, "I went to school with some redneck crackers/right around the time 3rd Bass dropped The Cactus Album", referring to an interracial trio from the East Coast. "Hip-Hop", the most well known song from the album clearly states their beliefs concerning the modern music industry being over-commercialized. They also illustrate their beliefs, stating "Who shot Biggie Smalls/If we don't get them they gon' get us all, I'm down for runnin' up on them crackers in they City Hall." "Police State" once again features a speech by Yeshitela, and criticizes the system of policing as well as the surveillance state, while arguing for a revolution. "Animal in Man" is an adaptation of George Orwell's Animal Farm and begins with a sound excerpt from the movie Beneath the Planet of the Apes. The story mirrors Orwell's Animal Farm until the Revisionist character, Hannibal, attempts to re-organize the society into a class system, at which point all the animals reject this, execute Hannibal, quarter his body and put it on display. "Behind Enemy Lines" namechecks Black Panther Fred Hampton. Among the rallying cries for black liberation/socialism, dead prez include entreaties for self-respect/love: "Be Healthy" is about eating right ("I don't eat, no meat no dairy no sweets") and has become very popular in the vegetarian and vegan community; "Mind Sex" is about getting to know your lover and appreciate a person's mind as well as their body ("maybe later we could play a game of chess on the futon"; "Discipline makes things easier, organize your life"); and "Happiness" is about warm weather as a tool for the liberation struggle. Dead prez member stic.man also discloses his religious beliefs in the track "Propaganda" "I believe man created God out of ignorance and fear" and also gives another rallying call for Huey P. Newton, explaining that the black population understands that the system killed the Black Panther leader because he had "the answer". As well as hip-hop beats, many tracks contain live instruments, such as "Psychology", "Animal in Man", and "You'll Find a Way". [link] [comments]  |
| 50 Cent - P.I.M.P. (Snoop Dogg Remix) ft. Snoop Dogg, G-Unit Posted: 04 Jan 2021 09:24 PM PST |
| 03 Greedo & Kenny Beats - Beg Your Pardon feat. Maxo Kream (Official Audio) Posted: 04 Jan 2021 09:57 AM PST |
| The Underachievers - Take Your Place Posted: 04 Jan 2021 09:22 PM PST |
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