Hype Tuesday: Post songs by artists that haven't gotten more than 50 upvotes on HHH - HipHop | HipHop Channel

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Hype Tuesday: Post songs by artists that haven't gotten more than 50 upvotes on HHH - HipHop

Hype Tuesday: Post songs by artists that haven't gotten more than 50 upvotes on HHH - HipHop

Hype Tuesday: Post songs by artists that haven't gotten more than 50 upvotes on HHH

Posted: 19 Jan 2021 08:02 AM PST

Rules

Artists qualify if they're never gotten 50 or more upvotes on /r/HipHopHeads (counting features)

Formatting:

Artist - Title

Description: no character minimum but some things that might be good to include: where the rapper is from, what subgenres they might fall into, have cosigns they might have, what their influences are/who they sound like.

Example:

Aaron May - Let Go

17 year old Houston Rapper, biggest influences are J Cole and Nas.

Heavily recommended: If you post a song, listen to another song and comment on it. Otherwise it doesn't rly work that well.

Feel free to add any feedback on what could make these threads better.

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Daily Discussion Thread 01/19/2021

Posted: 19 Jan 2021 09:23 AM 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, as stated in the guidelines.

  • Please be helpful and friendly.

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

Weekly/Monthly Threads

Other ways to interact

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

New to /r/hiphopheads or hip-hop in general?

Check out these:

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BREAKING: Trump has granted Clemency to rappers Lil Wayne and Kodak Black

Posted: 19 Jan 2021 08:39 PM PST

Tweet: "Breaking: Trump has granted clemency to rappers Lil Wayne and Kodak Black and former Detroit mayor Kwame Kilpatrick (reporting by @steveholland1)"

Steve Holland, a Reuters reporter for the White House, is reporting this information.

Link to tweet: https://twitter.com/JanNWolfe/status/1351749092888735744?s=20

UPDATE: It's official. Lil Wayne has been granted a full pardon from Donald Trump. Kodak Black & Harry O (Co-Founder of Death Row Records) were granted commutations for their prison sentences.

Link to Official List of Pardons & Commutations on White House Website: https://www.whitehouse.gov/briefings-statements/statement-press-secretary-regarding-executive-grants-clemency-012021/

"Bill K. Kapri – President Trump granted a commutation to Bill Kapri, more commonly known as Kodak Black. Kodak Black is a prominent artist and community leader. This commutation is supported by numerous religious leaders, including Pastor Darrell Scott and Rabbi Schneur Kaplan. Additional supporters include Bernie Kerik, Hunter Pollack, Gucci Mane, Lil Pump, Lil Yachty, Lamar Jackson of the Baltimore Ravens, Jack Brewer formerly of the National Football League, and numerous other notable community leaders. Kodak Black was sentenced to 46 months in prison for making a false statement on a Federal document. He has served nearly half of his sentence. Before his conviction and after reaching success as a recording artist, Kodak Black became deeply involved in numerous philanthropic efforts. In fact, he has committed to supporting a variety of charitable efforts, such as providing educational resources to students and families of fallen law enforcement officers and the underprivileged. In addition to these efforts, he has paid for the notebooks of school children, provided funding and supplies to daycare centers, provided food for the hungry, and annually provides for underprivileged children during Christmas. Most recently while still incarcerated, Kodak Black donated $50,000 to David Portnoy's Barstool Fund, which provides funds to small businesses affected by the COVID-19 pandemic. Kodak Black's only request was that his donation go toward restaurants in his hometown."

"Dwayne Michael Carter Jr. – President Trump granted a full pardon to Dwayne Michael Carter Jr., also known as "Lil Wayne." Mr. Carter pled guilty to possession of a firearm and ammunition by a convicted felon, owing to a conviction over 10 years ago. Brett Berish of Sovereign Brands, who supports a pardon for Mr. Carter, describes him as "trustworthy, kind-hearted and generous." Mr. Carter has exhibited this generosity through commitment to a variety of charities, including donations to research hospitals and a host of foodbanks. Deion Sanders, who also wrote in support of this pardon, calls Mr. Wayne "a provider for his family, a friend to many, a man of faith, a natural giver to the less fortunate, a waymaker, [and] a game changer."

"Michael Harris – President Trump commuted the sentence of Michael Harris. Mr. Harris is a 59-year-old who has served 30 years of a 25 year to life sentence for conspiracy to commit first-degree murder. Mr. Harris has had an exemplary prison record for three decades. He is a former entrepreneur and has mentored and taught fellow prisoners how to start and run businesses. He has completed courses towards business and journalism degrees. Upon his release, Mr. Harris will have a meaningful place of employment and housing with the support of his family."

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Fat Joe DJ Khaled Launch Joint OnlyFans Account

Posted: 19 Jan 2021 01:22 PM PST

A Boogie wit da Hoodie sued for clogging toilets in New Jersey mansion.

Posted: 19 Jan 2021 01:41 PM PST

Mac Miller - The Spins

Posted: 19 Jan 2021 04:40 AM PST

[FRESH MIXTAPE] DJ Clockwork - Mac Miller Remixxed

Posted: 19 Jan 2021 07:05 AM PST

A Boogie With The Hoodie - My Shit

Posted: 19 Jan 2021 10:01 PM PST

Mac Miller - Buttons

Posted: 19 Jan 2021 12:24 PM PST

Trump commutes sentence of Death Row co-founder Michael ‘Harry O’ Harris

Posted: 19 Jan 2021 03:32 PM PST

Album of the Year Writeup #26: Westside Gunn - Pray for Paris

Posted: 19 Jan 2021 09:06 AM PST

Artist: Westside Gunn

Album: Pray for Paris

Release Date: April 17th, 2020

Listen:

YouTube

SoundCloud

Spotify

Apple Music

Datpiff

Bandcamp

Artist Background:

Born on the East Side of Buffalo, New York, specifically the Central Park area, Alvin Lamar Worthy, known to many & most as Westside Gunn, has been making sense of different directions in a cohesion true to his own design for 38 years. Growing up in the early 90's, Westside was immersed in Hip Hop from his mother, who had him at 16, to his uncles & other family members who were still in high school, even beginning to rap at the age of 8 himself, yet strictly mcing wasn't the only path that he wanted to take steps in. From making comic books in fifth grade, screen printing tees in the eighth, & the next taking trips to Atlanta on a Greyhound to buy clothes he couldn't in Buffalo, he was always interested in multiple mediums, to the extent of applying for fashion school at the age of 19, but having to defer that ambition due to being a teenage father of two.

Westside attempted rap somewhat, but rather unsuccessfully w/ his first mixtape "Flyest Nigg@@ in Charge," released in 2005 initially & recently re-released. He also founded his fashion label Griselda by Fashion Rebel in 2005. Around this time is also when he first met & befriended the main Griselda producer, Daringer, at a rap night at the Buffalo club Broadway Joe's where Daringer was Djing. Unfortunately, also around this time, Benny the Butcher's brother, Machine Gun Blak, was shot & killed; Chine, Conway, Benny, & Westside were all incredibly close & were in a rap crew called the Forerunners together in high school, & another later called Street Entertainment. Griselda's 2019 album WWCD was named in honor & remembrance of Machine Gun Blak, standing for What Would Chine Do? Gunn was also caught from being on the run from a weapons charge in 2006, & sentenced to federal prison for the first time. When he got out in 2011, he decided to focus on managing his brother Conway's career & founded Griselda Records. W/ having stepped out from rapping, when Conway was shot in 2012, WSG decided to pick up rapping again to motivate & inspire him, releasing his first official tape, Hitler Wears Hermes, a saying that reworked the popular maxim "The Devil Wears Prada" for a modern audience & era. HWH was also his first collaboration w/ Daringer, who produced the beat Messhall Talk on HWH. Earlier WSG had founded Fashion Rebels, his clothing brand, but w/ the advent of his HWH he formed Griselda Records in 2012 & signed his brother Conway.

In 2014, Gunn released his tape HWH2 which began to lead to a slow rise among the underground. He handed this tape to his friend AA Rasheed, who got it to Planet Asia. Planet Asia liked the tape, & got in touch w/ Westside. Asia played this tape for The Alchemist, who loved it, & then started showing it to the people from Dj Premier, Action Bronson, & Danny Brown who formed similar positive opinions of Westside's work.

In 2015, WSG released HWH3, a duo tape w/ his brother Conway, under the name Hall & Nash, & a tape w/ producer Big Ghost Ltd, called Griselda Ghost. He did a song w/ Skyzoo on HWH3, & afterwards Skyzoo asked him to feature on his own album, which further grew WSG's underground acclaim.

2016 was when Westside truly began to break thru to a larger audience. He released HWH4; an album w/ the producer The Purist titled Roses are Red...So is Blood; the Don't Get Scared Now EP, & the There's God and There's FlyGod, Praise Both EP. But his major release was the album FlyGod, featuring Action Bronson, Danny Brown, Roc Marciano, Skyzoo, Your Old Droog, the modern core of Griselda w/ Benny the Butcher, Conway the Machine, & Keisha Plum, his former signee Mach-Hommy, & friend & associate AA Rasheed, along w/ production from Daringer, The Alchemist, Apollo Brown, Camouflage Monk, Roc Marciano, Statik Selektah, and Tha God Fahim. This album propelled him further into the underground limelight & ears & eyes of labels, blogs, & the underground music scene to a substantial extent. Anderson Paak. even noted in his XXL Freshman cover that the one artist that he thought should be there was Westside Gunn.

2017 was a slower year, seeing him release HWH5, the mixtape Hitler on Steroids alongside Nas's Dj, Dj Green Lantern, & the EP Raw is FlyGod. Yet a mainstay of the underground, MF Doom, also took notice of the upcoming artist, & created an EP w/ him titled WestsideDoom opening a new door of older & more diverse fans. Griselda also signed to Shady Records this year, after Mike Herard heard "Dear Winter Bloody Fiegs" off of HWH3 & realized Gunn's potential. In addition, on the Griselda On Steroids Tour, Raekwon surprised the crowd by passing the torch to Westside Gunn.

2018 saw the release of HWH6, & the EP FlyGod is Good...All the Time w/ Mr. Green, as well as the compilation album Hitler is Dead. Most notably tho, WSG released Supreme Blientele which ended up on many year's end best lists & had features from Anderson Paak., Crimeapple, Elzhi, & Roc Marciano along w/ features from Gunn's Griselda affiliates.

2019 brought the release of HWH7, & FlyGod is An Awesome God, along w/ the compilation album The Fourth Rope. The major release tho was the Griselda joint album WWCD (What Would Chine Do?) that featured Raekwon & 50 Cent, as well as the single Dr. Birds which began to receive widespread attention along w/ the Bang! Remix featuring Eminem.

Enter 2020, & Westside Gunn's album Pray for Paris was released to both critical & popular acclaim. Gunn suffered from a COVID-19 infection, but luckily recovered in full health. Later in the year, WSG also dropped the albums FlyGod is An Awesome God 2, & his major label debut for Shady Records, Who Made the Sunshine. On November 14th, Gunn announced his contractual obligations to Shady Records were complete.

The Album Itself:

To start w/, the album art itself begins to convey the feel of the album. If you're wondering why, first off that painting is "David with the head of Goliath", by Carravaggio, an Italian master who you've prolly seen w/ the works, Bacchus, Judith Beheading Holofernes, & Cardsharks.

The ethos behind the design is in the intro of Pray for Paris that starts w/ that high class art auction for the most expensive painting ever sold, The Salvador Mundi, by Leonardo da Vinci, & that world is the one that Westside Gunn wants to enter into. Paris is generally viewed as a stand in for high art & wealth & taste in the West & worldwide, & Gunn is praying he reaches that symbol, wealth & luxury. Just as the designer, Virgil Abloh, was the first black major fashion house head designer, Westside Gunn, a man of small stature akin to David in Carravaggio's work, wants to reach that level of success against the massive odds, some would say Goliath odds, & place his mark & hand, chains, one w/ his portrait as a kid even, on those hallowed symbols, Paris, Carravaggio, etc, of wealth, taste, & luxury for himself.

As to how Paris came to be for Gunn, Virgil ended up playing an integral part in that facet of the trek as well. Virgil Abloh reached out to Gunn w/ tickets for front row seats to the Paris Fashion Week Louis Vuitton show as they were both mutual fans of each other's respective work & actual friends after being linked by WSG's associate Chase. Westside rocking Abloh's first ever fashion brand, Pyrex23, far before the Off-White hype, & continually shouting him out, & Virgil purchasing GxFR apparel as well as records frequently & retweeting Gunn.

WSG began this album while he was in Paris, originally planning it to simply be an EP, recording a couple tracks in a couple hour session. After coming back to the states from his trip tho, he decided that the experience of Paris deserved an entire album.

Right on the 2nd track, "No Vacancy", WSG already leans into the theme of a Parisian inspired album w/ a simple "Bonjour" to begin the track. Produced by DJ Muggs, it also serves as the first example of the all star ensemble he brought together for this album. It's & light & enjoyable beat to wade into the album's overall feel w/, & Westside is sparse akin to the beat delivering a smooth but solid flow.

"The Migos, Nigos, we reload the free throws The Margiela peacoat, the Regal Four story house I got off Ebro, the Vlone Rest in peace Vino (Ah), rest in peace Kino, the Spiegel The seagulls, April fresh ego Slam you on your neck like Bruno Sammartino Welcome home Tito, you proud and sippin' pinot My shooter shot five niggas in a row, we yell 'Bingo', my Nino Bulletproof Bentleys parked outside the Whitney"

Already we've got the intertwining of fashion luxury & Hip Hop, the Migos obvs, but also Nigo, the founder of BAPE. A Margiela peacoat & the radio DJ Ebro; Bulletproof Bentleys parked outside the Whitney [Museum of American Art in New York]; Westside is already displaying & interweaving his deep immersion & intertwined life, love & knowledge of Fashion, Art, Luxury, Hip Hop, the grimier & the street sides, all seamlessly, Bulletproof Bentleys.

& immediately after the lighter aires of "No Vacancy" end, the heavier hitting beat of "George Bondo," produced by Daringer, comes in as if almost to just remind us as Westside does w/ the first line that he is still "from a bad block on the Eastside, Peace & War." It's a great Griselda posse cut, w/ Benny & Conway coming in & spitting their special blend of potent over a Daringer beat up there w/ the besta the Griselda collab tracks. As Benny ends it to further serve as a reminder, importantly so w/ PFP being WSG's major label debut, "this Griselda n*gga." Conway noting similarly as well, "I was him before you ever heard me on a track w/ Em." George Bondo serves as a singularly great track for one, but also as an establishment of Griselda on this album to enforce their presence & identity imminently in the album early on.

Then "327" comes in once again w/ a mellow beat by Camoflauge Monk to return us to the pace of "No Vacancy" after establishing that this is still Griselda prior w/ "George Bondo." Similarly to Benny's noting on his album Burden of Proof that "last year was about branding; this year bout expanding," "327" is our first sample of an expanded Griselda, w/ features from Tyler the Creator & Joey Bada$$ rather than usual more grimy & street collaborators. One wouldn't necessarily expect a verse about "he's 6'5 & I'm a munchkin" talking about a man Tyler's w/ at a disco & most likely affectionate w/, yet here we are; a Griselda w/ more range & scope. Westside noted that w/ this record he wanted to collab w/ people that he hadn't before, akin to his Paris experience, a new range for his artistic work as well. Tyler's collaboration came about w/ WSG hitting him up to learn that Tyler was making beats for him actually, & in turn, WSG asked if Tyler wanted to be on a track. He sent it to him, & the song was made w/ Joey being the only initial planned feature. Also "327" is where the elements of Westside's Parisian experience become more directly evident in his verses, "them 327's was blessings," which, along w/ the track name, is referencing that while in Paris Charaf Tajer, the founder of fashion brand Casablanca, gifted WSG w/ New Balance's first pair of 327's. Billie Essco works this point in w/ his smooth hook to a further extent,

"I swear Paris will be prayed for (Prayed for) Unreleased Off-White to the ankles, ayy (Ankles) I'm in them places that you can't go (That you can't go) Don C, Nigo in the same row, ayy (The same row) I swear Paris will be prayed for I need Casablanca by the caseload...".

This is that place of exclusivity & his dreams that WSG has landed; he's prayed for this, one must, to him it's a pinnacle of life none so easily achieved.

Camo Monk comes in again w/ another melodic tune starting w/ a simple & lackadaisical piano for "French Toast." For me, this is a fav on the album. It's Gunn just being raw in a light way, rawness w/ a bitta light delight. His singing isn't great, but it's one my fav moments of him singing period because of it's imperfection it works so well in it's authenticity. From displaying his naïveté "we can laugh over French Toast but you don't call it French Toast" to just simple tourist delights as the Eiffel Tower, to me this track really encapsulates just the bliss & aloof delight that WSG must've felt while being in Paris amidst his loves of fashion & luxury at their zenith. Him & Joyce Wrice's intertwining vocals also just pair so well & further expand the feel of a fun & simple Paris date. Wale comes in a flows as he does & does a damn great job, but for me, the highlight is always the WSG & Wrice sections of the song despite Wale's great verse & recreation of Westside's adlibs. It's that mix of raw & imperfect & kinda grimy yet luxurious & beautiful between both their voices & the beat that is so often present in Westside's work but in a different form here. Also the sample at the end is quintessential Griselda, really encapsulating the spirit of WSG the best I ever heard, "I'll admit I'll admit; I'm no singer. But what I am is the showstopper — the headliner, the main event, the icon, FLYGOD."

"Euro Step" then steps in w/ a pared back & simple beat by Conductor Williams that also manages to be mildly odd enough to remain interesting. It's a relief track where Westside is just flowing, & the beat takes a few steps back instead. Serving as an interlude transition almost to the upcoming posse cut once again, Westside reminds of his origin,

"Never got wet, this for my niggas that's locked in the cage Brushin' their waves with a chip bag, drop it like Six Flags (skrt) Clothes from Fifth Ave, I was broke and got rich fast."

Daringer comes back in once again w/ beating drums on "Allah Sent Me" after a more minimal beat akin to the transition between "No Vacancy" & "George Bondo." Gunn comes in w/ an enjoyably annoying & tinny sung chorus,

"I miss the days when bricks was only nineteeeeeeen; I need a 100 right now Get the pot let me do my thiiiiiiiiiiing, stove hold me down Allah sent me here to be the kiiiiiiiiing, bodies on the floor piled."

Reminding us that he's not always trying to sing pleasantly, but it's still that rawness from Griselda that I love. It's not perfect, but beautifully imperfect. The Griselda crew comes in & effortlessly & skillfully trades verses amongst each other intermittently amidst, & Daringer simply lets the beat remain along w/ another sample of a villain doing exactly what he wants to as he wants to.

A more minimal beat from the Alchemist comes in for "$500 Ounces," making an odd transition from "Allah Sent Me" that pays off in abundantly in a bit. It's between tense & more soulful, the frenzied & quick strings providing tension & that soul vocal sample in the back providing a counterpoint in it's loveliness, yet mirror in it's firm chops & inflections. This is a cut between coke rap maestros, w/ WSG, Freddie, & Roc interchanging verses in between easily. Roc especially w/ his delivery:

"To run with me, you need sunscreen cream, see I'm covered in bling (Bling) Motherfucker, ain't no shade, even under the trees where monkeys swing (Ah-ah-ah) The marijuana money green, I'm runnin' the company like a drug ring Livin' comfortably off of gut instinct That fell upon me once I was done with the streets (Uh)"

& when "Versace," hits, the essence of the soul sample on the prior takes the forefront in a glorious luxury of what seems to be a gospel track produced by Jay Versace; the payoff was worth it. It's all about the balance, of luxury & beauty & gritty & grimy, & Westside continually crafts this album in an exquisite saga of both in perfect balance in curation. At the end WSG also poignantly balances the luxury w/ a more personal lyric noting of the other contrast he's known compared to his luxury:

"Brick of coke pioneers, imagine laying on the cot Haven't seen your fam in years (Ah), lookin' at old pics Droppin' tears, my old celly live like that (Ah) Inshallah, I'm never goin' back (Never goin' back)"

Jay Versace does an obvs excellent job on this track, & the collab is a humorous story in it's origin & the theme of Griselda expanding & WSG seeking out unexpected collaborations & collaborators. Versace actually just sent Gunn a message saying he made beats, & WSG didn't know about his social media career. He thought they were gonna be trash, & the first beat Westside, loves it, & instantly taps him for the album.

The Alchemist comes back in for another odd but oddly just right transition from "Versace," w/ a sorta 60s/70s RNB vocal sample playing softly in the background creating an almost celestial atmos w/ no drums & only a simple bassline providing us some grounding in the beat, similar to the prior drumless but more glorious atmosphere of "Versace." Westside pitches down his voice to match w/ Boldy's deeper & more monotonic flow, & it works wonderfully on this song.

& now to spice things back up, DJ Premier drops in w/ a bassline bound beat w/ an organic & simple snare keeping pace amidst a flurry of bright piano. Among all the personality of a Premo beat, Westside delivers a great like, "My heart cold, but my neck feel like Aspen (Brr)," but the highlight is the infectious chorus. It's simple, charismatic, & just great.

Now from that Tyler the Creator collab, "Party wit Pop Smoke" is the beat we got, which is an odd but welcome outing for Tyler as well considering its sample based production. WSG made this track in reference to his time in Paris amidst which he met Pop Smoke. Recounting the encounter,

"And when we linked, it was love, and I had on all my jewelry—I'm never going to forget—he came up to me, and picked up my jewelry on my neck. Because I guess he thought it was some light shit...

And he just picked up the one chain and was like, "Oh, shit. This shit heavy as hell." I'm like, yeah what you thought it was? We in the middle of the club partying and shit. That was just crazy because it was just like you could see the kid in him. I didn't know how old he was. When he seen the jewels up close and held it, it was like the kid came out. He was excited and shit. We just kicked it."

& it's these typa just weirdly innocent & delightful moments & events comprising the album from it's inception & final form that I like the most amidst all the grime that make up the basis for this album in a lotta ways. It's such an unusual balance for Westside when it's usually just luxury that's contrasted instead, & it's just so human. Keisha comes in w/ her smooth but murderous poetry, & then of course lol to complement an incident w/ the childlike nature of Pop Smoke in a moment, Pootie drops in at the end & reminds us that we "need to stop copying off her daddy."

"Le Djoliba" comes in to close the show out, produced by Bohemia Lynch, w/ a vocal sample that amps up the semi strained "moooonlight" of "Party wit Pop Smoke" in a continual "I'mmm so tired & cold." West does his thing, enthusiastic adlibs of "Boom boom boom brrrrrrr," brings in some coke raps & a quotable "the way my fucking neck look they think I sold my soul," but the best part is the last bit of the song. Westside ends w/ the verse "Front row, Virgil Abloh show, this ngga GOAT (This ngga GOAT) Had a n*gga tap dancin' on the blow (Tap dancin' on the blow, ah)" & then Cartier Williams comes in tap dancing. Besides the blow, this actually happened; Virgil brought out a tap dancer at the Louis Vuitton show.

Opinion:

This is a fav album of the year for me for it's curation & balance & just overall personality. It bleeds out this just absurd but actual narrative of WSG's experience of Paris, somewhere amidst the things he loves in some of their best instances. It's got its grimy & hard bits as we're accustomed to from Griselda, but overall it's this sorta sincere & just delightful love letter from Gunn to Paris. From the random bonjours to the constant fashion except events that uniquely happened, the gifted 327s & Casablanca; Louis Vuitton tap dancers & front row seats; Pop Smoke like a kid & Jay Versace like a kid selling beats ; the Salvador Mundi intro & Caravaggio cover art, it's such a uniquely curated & collected together album that's raw, but not raw as we usually expect. It's just organic raw life outside of the normal street ventures; it's someone on the Streets of Paris who's wanted to always be there who came from the streets & their raw unfiltered delight & attempt to curate & convey something to us the listeners as grand & fun as the time there was to them. & it does that excellently imo.

Discussion Questions:

1). How do you feel about this album? How do you think it compares to other Griselda releases this year?

2). How about in Westside's own discography?

3). If you could've added or changed one or two features & producers for this album, who would have they been?

4). Top 3 songs on the album?

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GoldLink - Cokewhite (ft. Pusha T)

Posted: 19 Jan 2021 01:04 PM PST

Dead End Hip Hop Reviews Eminem - Music To Be Murdered By - Side B

Posted: 19 Jan 2021 04:21 PM PST

Logic Talks About Hate in Hip Hop (Drake, Mac Miller, J. Cole, Kendrick & More).

Posted: 19 Jan 2021 04:32 PM PST

[DISCUSSION] Gang Starr - Step in the Arena (30 Years Later)

Posted: 19 Jan 2021 07:31 AM PST

Step in the Arena is the second studio album by hip hop duo Gang Starr, printed as a 1990 release, and commercially released on January 15, 1991. In 2007, it was named the greatest hip hop album of all time by IGN.com. HipHopDX called it "the album that cemented Gang Starr as a timeless tag team."

Background

Filmmaker Spike Lee was a fan of Gang Starr's debut No More Mr. Nice Guy and loved the song on the album "Jazz Music". As Lee was filming Mo' Better Blues at the time of the album's release, he felt the duo needed to expand on the song's theme - which became the single "Jazz Thing". Lee introduced them to a poem written by Lolis Eric Elie, which group member Guru converted to a rap, as the poem didn't rhyme. The song caught the attention of Chrysalis Records, who offered them a deal based on "Jazz Thing". However, DJ Premier said the label had gotten the wrong idea of the group, stating: "When they signed us, they thought we were going to do records like "Jazz Thing" all the time. When we were just doing that for Mo' Better Blues"

In popular culture

The song "Who's Gonna Take the Weight" was remixed by DJ Premier for use in the video game Grand Theft Auto IV. "Step In the Arena" was on the video games Skate It and Skate 2, and "Just to Get a Rep" was on Thrasher: Skate and Destroy.

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[FRESH] Young Dolph - Large Amounts

Posted: 19 Jan 2021 09:04 AM PST

Boogie (Official Movie Trailer) Ft. Pop Smoke

Posted: 19 Jan 2021 09:27 AM PST

J. Cole - Can't Get Enough ft. Trey Songz

Posted: 19 Jan 2021 09:33 PM PST

Baracka Flacka Flames - Head of The State

Posted: 19 Jan 2021 12:50 PM PST

Lil Skies reveals tracklist for “Unbothered” album w/ Wiz Khalifa & Lil Durk - Releases this Friday

Posted: 19 Jan 2021 11:22 AM PST

Releases 1/22

  1. Fade Away
  2. Take
  3. Excite Me (feat. Wiz Khalifa)
  4. Havin' my way (feat. Lil Durk)
  5. Ok
  6. Dead Broke
  7. On Sight
  8. Think Deep Don't Sink
  9. Red Wine & Jaded
  10. Locked Up
  11. Trust Nobody
  12. Riot
  13. Sky High
  14. Mhmmm
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Rapper Wife chopped up his body parts

Posted: 19 Jan 2021 07:46 PM PST

Song You Need To Know: Navy Blue featuring Yasiin Bey, ‘Breathe’

Posted: 19 Jan 2021 08:54 PM PST

Logic - 5 Hooks (Official Audio)

Posted: 19 Jan 2021 09:08 PM PST

AP DHILLON- Brown Munde

Posted: 19 Jan 2021 10:22 PM PST

[FRESH] Wale - Good Vibes (Za)

Posted: 19 Jan 2021 09:05 AM PST

MF DOOM brief write up

Posted: 19 Jan 2021 10:04 PM PST

Hey everyone! I've been spending my time lately trying to improve my writing skills and gave my best shot at writing a short piece on one of my favorite artists, MF DOOM. I hope you guys enjoy it and would love any feedback you have!

​

My first exposure to MF DOOM was a similar experience to many of his fans, I'm sure.

Madvillainy was brought to my attention as a classic hip-hop album of the 2000's; featuring outrageously precise rhyme schemes, sample-heavy production by a genius in their own right, Madlib, and a mysterious gravelly voice with a silver tongue. While all of those were of course, true, what makes MF DOOM special is much more than the objectively awesome aspects of his music.

It's the artistry of his elusive character, the tone DOOM pervades when he hops on the mic, the comic-book style big brass production that brings to mind a force of evil. You have to be truly bought into your schtick as a bad guy to send out a fake version of yourself at your own concert, just to keep people on their toes. MF DOOM embraced his role as well as anyone in hip-hop ever has, and it would only be fitting if I let him introduce himself to you in his own words, as any of the great evil-doers would do. From the track "Bistro":

"And I'm your host, 'The Supervillain'"

London born, New York raised Daniel Dumile, under the stage-name Zev Love X, began his music career in 1988 as a part of the East Coast hip-hop trio KMD (Kausing Much Damage) with his brother DJ Subroc. KMD was able to garner enough success in the underground New York rap scene to sign with a record label and release an album, Mr. Hood, but the group was abruptly dissolved in 1993, prior to the release of their second album, due to the death of DJ Subroc. Following a stint away from music, Dumile, now under the stage-name MF DOOM, returned to the public eye with the release of his 1999 debut solo album, Operation: Doomsday.

Operation: Doomsday is where the mythos of MF DOOM begins; a charming collection of jazz-rap and alternative hip-hop goodness that evades comparison due to its simultaneous display of lyrical skill mastery and ahead of its time production. The track "Doomsday" centers around a seductive sample of "Kiss of Life" by Sade and classic boom-bap drums. MF DOOM functions as the witty observational rapper whose braggadocious lyrics are endearing for their pompousness as much as their advanced rhyme intricacy.

"Definition "super-villain": a killer who love children / one who is well-skilled in destruction, as well as buildin' / While Sydney Sheldon teaches the trife to be trifer / I'm trading science fiction with my man the live lifer."

He depicts himself as the supervillain of rap, meant to destroy the game itself, while also being sympathetic to children (he means the community of young rappers, but imagine a masked DOOM swooping in to rescue your baby from the evils of poorly made huggies), and his willingness to build great songs. "Rhymes Like Dimes," my favorite DOOM song, is set over a little synth riff from the delightfully schmaltzy R&B song "One Hundred Ways" by Quincy Jones, and sung by James Ingram. DOOM's flow is spotless, he has the uncanny ability to juggle never-ending rhyme schemes with catchy hook's that get you singing along inside the bathroom at your local Chipotle (that actually happened, no Potle slander around these parts). The chef's kiss element of this album are the multiple skits placed throughout the tracklist, adding an amusing backbone to the overarching villainous theme. Doomsday should be remembered as one of the greatest debut records of all time, setting the bar wayyy high for DOOM's subsequent releases. Spoiler: he doesn't miss.

DOOM's second record under the "MF DOOM" moniker (he put out multiple albums under the aliases King Geedorah and Viktor Vaughn between this time) came in 2004 with the release of Mm..Food, another classic record brimming with zany loop-heavy production and musings of a man begging to get his hands on a Coney Island hot dog. "Beef Rap," the opening track of the album, begins with one of DOOM's many samples declaring my exact thoughts after not eating for two hours: "Now I haven't eaten all day. How am I gonna do this man?" After a few more comic-book character voices warn the listener of the return of mad-genius-supervillain MF DOOM, a cartoonish horn enters the beat and drops directly into DOOM's firing-on-all-cylinders verse. It all makes for a track that is equally lighthearted and goofy as it is hard, a balance that many of DOOM'S contemporary hip-hop counterparts struggle to find (I'm looking at you Eminem).

I can't write a blurb about Mm..Food without at least briefly touching on the spectacle that is "Rapp Snitch Knishes" feat Mr. Fantastik. This track is similar to "Rhymes Like Dimes" in that it features a kick-ass chorus that's singable amidst a flurry of lines spoken way too quickly for me to ever be able to rap along with. Bonus points to "Rapp Snitch" for incorporating maybe the most iconic guitar riff in hip hop music history, instantly captivating any future Playboy Carti fan to wonder what the hell a guitar is and how to make baby sounds over it. Picture the line "everybody wanna rule the world with tears for fears" with a bunch of loud "SLAT!" ad-libs in the background. Isn't it beautiful? At this point of time, DOOM as a solo artist was at the peak of his power, flexing his talent as a top-tier producer/rapper combo in the elite status of "mainstream but also kinda underground" artists. But even the most mighty supervillains know they can only do so much on their own, which led DOOM to seek out a partner in crime worthy of his expertise.

Madvillainy, the aforementioned 2004 collaboration album between heralded producer Madlib and MF DOOM, known jointly as Madvillain, cemented both members of the duo as legends among their peers. Madvillainy is a symbolic middle finger to any would-be poet-rapper trying to emulate DOOM's utter mastery of language, it is playfully complex purely because it has the ability to be that way. The early 2000's are commonly remembered for the popularity of gangster rap, which is based in harsh, realistic depictions of the world through the eyes of the artist. It isn't necessarily simplistic, but it does usually involve describing events that are bound in some rationality. DOOM bucks this trend completely, instead choosing to blend substantive and supernatural like it's your two favorite flavors of slurpee at a 7-Eleven (does anyone actually like the Coca-Cola flavor slurpee?)

"Meat Grinder" is one of those tracks I can only describe as being absolutely fucking filthy in the most positive way possible. Madlib cooks up a scintillating beat for DOOM to rap over, sampling both Frank Zappa's "Sleeping in a Jar" and the daydream-esque steel guitar from "Hula Rock" by The Lew Howard All-Stars. After the dramatic introduction to the song, love the creepy Zappa "THE JAR IS UNDER THE BED" part, DOOM neatly slips into the beat and proceeds to go berserk with wordplay.

"Tripping off the beat kinda, dripping off the meat grinder / Heat niner, pimping, stripping, soft sweet minor / China was a neat signor, trouble with the script."

Like… what? The level of control of rap flow it takes to properly place all of these words within the context of the beat (ending a line at the proper time, etc.), while also squeezing as many little rhymes as possible, is astounding. Mastering language in such a commanding way is on par with some of the greatest writers of our time, and I have serious doubts that William Shakespeare could perform Hamlet in an oversized metal mask.

"Fancy Clown" is special because of its narrative song structure as opposed to the "I'm gonna rhyme things with the word banana a bunch and you're gonna like it" method of other tracks. "Fancy Clown" is rapped from the perspective of DOOM alias Viktor Vaughn on a phone call with a girl who has been cheating on him (funnily enough, the girl in the song cheated on Viktor Vaughn with DOOM). The song artfully samples "That Ain't The Way You Make Love" by Z.Z. Hill as its chorus, also giving name to "Fancy Clown" itself with the line "You've been tripping around uptown / with some fancy clown." DOOM proceeds to show off his usual expert lyricism in the arrangement of a story, and I think it's really awesome to witness the versatility with which he can lay down bars that make sense linearly.

MF DOOM is larger than life. He reminds me of David Bowie and the Ziggy Stardust character he had cultivated around his early 70's music. These characters may just seem like imaginary vessels with which an artist can create an identity, persona and background for, but that completely disregards how real the emotions and impact these "characters" can have on our very real lives. They are eternally a part of our universe, whether the artist who brought them to existence is here with us or not. The masked crusader that is MF DOOM will never be caught or defeated. He is THE supervillain, wreaking havoc on the world one cleverly syncopated bar at a time. We won't ever forget him,

"Just remember ALL CAPS when you spell the man name"

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