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Album of the Year #3: Billy Woods & Kenny Segal - Hiding Places - HipHop

Album of the Year #3: Billy Woods & Kenny Segal - Hiding Places - HipHop

Album of the Year #3: Billy Woods & Kenny Segal - Hiding Places

Posted: 03 Jan 2020 07:59 AM PST

Artist: Billy Woods & Kenny Segal

Album: Hiding Places

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Background by /u/ItsBigVanilla

Writing about Billy Woods's personal life feels like a betrayal, since he's taken extensive measures to maintain an aura of you-can't-even-see-my-face privacy within even the marginal underground bubble he exists in. That being said, the New York-based rapper was born in Washington, D.C. to a Jamaican mother who taught English literature and a Zimbabwean father described by the rapper's official biography as "a would-be Marxist revolutionary." The cultural hodgepodge deepened even further when the family moved to Africa and eventually Zimbabwe, where his father served as a government official before his death and Woods's return to America at the age of eight. These early years have greatly informed his music, and listeners can frequently find references to Zimbabwe and global political history throughout his vast catalogue.

And a vast catalogue it is. Woods began his solo career by releasing Camouflage in 2003 and The Chalice in 2004, after which he joined underground rap supergroup The Reavers, releasing various projects with them from 2005 to 2006. He then formed the always-underrated duo Super Chron Flight Brothers with fellow rapper Priviledge, and the group released a handful of projects that saw Woods coming into his own as an MC while honing the skills that would come to define his later career. SCFB capped their run with 2010's fantastic Cape Verde, the most fully realized moment of the Woods saga pre 2012.

2012 marked the beginning of a Woods renaissance (if obscure rappers that bounce between groups qualify for something as grand as a renaissance). It was this year that he released his first solo album in eight years, History Will Absolve Me to critical acclaim and a promotion from the rank of "nobody" to "nobody but with a masterpiece" (think Evan Dara, D. Keith Mano, etc.). He quickly followed the project with 2013's Blockhead-produced Dour Candy as well as Half Measures and Race Music, both collaborative projects with rapper ELUCID under the moniker Armand Hammer.

Woods and ELUCID had first worked together on History Will Absolve Me, and their chemistry as a duo propelled them into a collaborative relationship that has served as so much more than a footnote in their careers. Armand Hammer released an EP, Furtive Movements, in 2014, and Woods followed it up with his understated 2015 solo album Today, I Wrote Nothing. Woods released another Blockhead-produced album, Known Unknowns, in 2017: Armand Hammer released Rome later that year. Hammer drops Paraffin in 2018; Woods drops Hiding Places with Kenny Segal less than a year later. Fans still reeling from Hiding Places get hit with another solo project, Terror Management, within months. Armand Hammer's last project came out just a year ago, and yet it already feels like they've gone silent on us, lost in the maelstrom of Woods's output. If it isn't already clear, the man doesn't sleep, and in a miracle the likes of which hasn't been seen since the birth of the Christ child, none of these projects has been less than great.

You still with me? Follow all those links yet? Okay, take a deep breath.

Kenny Segal is, comfortably, one of the best producers alive. After growing up in Maryland, he moved to Los Angeles and studied audio recording at the University of Southern California. He began producing hip-hop for the L.A.-based rap collective Project Blowed, whose members include some of the best rappers working today, such as Busdriver, Open Mike Eagle, and Nocando. His fingerprints can be found throughout all of those artists' discographies, especially as one half of The Kleenrz, a collaborative project between Segal and rapper Self Jupiter. He's also produced for Milo and MC Paul Barman, among others.

Segal is the ear behind many of the best rap songs and albums of the 2010s, and yet he's anything but showy. His true talent lies in contorting his style to match the artist he's working with, and a quick perusal of his catalogue demonstrates just how much of a musical chameleon he can be, all the while retaining a strong sonic identity which he emphasizes on his Kenstrumentals series, which can be found on his Bandcamp. On his 2018 solo instrumental project, Happy Little Trees, he gives a glimpse of an unrestrained self, managing to be equally compelling without an MC at the mic as he is with one there. Like Woods, he is a prolific force in underground music: in addition to Hiding Places, he produced the entirety of Hemlock Ernst's full-length solo debut, Back at the House, in 2019. Compare the two releases without any foreknowledge of their credits and you'll be hard-pressed to conclude that the same producer crafted both of them; therein lies Segal's genius.

Segal and Woods have worked together in the past, but Hiding Places marks their first (and hopefully not last) project as a team. Every song is produced entirely by Segal except for "A Day in a Week in a Year", which features additional production from Marcella Elyse Winn. According to Woods, the album had a long gestation period due to both artists' busy schedules, and the time that went into crafting it is evident in the finished product. It should also be noted that both artists released great projects later in the year, as if this masterpiece wasn't enough; Woods went on to release a second album, Terror Management, and Segal collaborated with Future Islands singer Sam Herring for his debut album as rapper Hemlock Ernst, Back at the House. Now, enough preamble.

Review by /u/ItsBigVanilla

To Billy Woods, progression is inwardly focused. As the New York-based rapper continues to evolve and broaden his musical horizons, his projects have become increasingly claustrophobic, the mirror turning further towards his own blurred face. Woods hasn't yet reached the "living in a barn with cats" status reserved for enigmatic loner Aesop Rock, but he's just as self-aware. On Hiding Places, he takes aim at the usual societal ills that have plagued his work for years, but he does so in a way that feels much more individualistic than ever before.

As the album's title suggests, the omnipresent themes of its 41-minute runtime are the things we hide and the places we keep them. Woods treats this literally at times (Houthi's "Moms showed us where she kept our passports hidden") and figuratively at others, such as in "Steak Knives", where his poor communication with friend leads to hidden feelings, the hidden realities of two men. Every song contains at least one reference to something that's been secreted away, but the rapper's greatest trick is his ability to shroud his own humanity under lead sheets of irony and cynicism. For every confession, every emotional admission on the album, there are at least two punchlines set in place to soften the blow. On "Spider Hole", for instance, Woods bellows "I don't want to go see Nas with an orchestra at Carnegie Hall", referring to the legendary MC's actual 2012 charity performances. The line is funny, sure, but it implies so much more than meets the eye: an appropriation of rap, a white commodification of black art, a sense of disillusionment with heroes, a distaste for the genre in its current state. Are these interpretations all correct? Most likely not, but Woods hides them within seemingly innocuous lines at every turn.

Which isn't to downplay the album's brilliant gallows humor. Would it be a bold claim to say that Woods is the funniest rapper alive? His comedy isn't jokes for joking's sake, it's more of a reaction to a world so broken that there's no other choice but to grin. On "Checkpoints", the best song of 2019, he raps "Quit my job to kick raps instead / So family meeting, everybody gotta start bringin' in bread" right before producer Kenny Segal unleashes a sea of crashing cymbals that threaten to knock the track on its ass, startling the vocals into a desperate yell that works so well because words don't just come out of Billy Woods's mouth, they tumble out of it, they leap out of it. It's a moment simultaneously hilarious and horrifying, cathartic and stifled, climactic and inevitable; it's one of the best bits of production the genre has to offer. In less grandiose moments, such as "Bigfakelaugh", the rapper finds out that his insurance won't cover some unspecified treatment and tells his family to "I guess just forget it", letting out an ad-libbed laugh so smugly jarring that you can't help but see the whole thing as some sort of cosmic trick being played on us all. A simple bar like this conjures up images of America, of blackness, of self-deception – what's remarkable is that these themes that are only ever referenced implicitly, and yet they seep into the pores of Woods's work. Someone more concerned with unifying his review might say that they're hidden in plain sight.

And as the old saying goes, behind every great rapper is a great producer. Woods has proven to be a master of collaboration, and never has his chemistry with another artist been more apparent than it is here, with Kenny Segal. Segal owes much of his work on Hiding Places to rock music, his penchant for the power of live instrumentation apparent throughout the project. He deploys these elements sparingly, such as in "Spongebob", where a guitar steps onto the scene like a man with a gun, takes a bow, then reappears again in the midst of a battle between shimmering synths and lonely, distorted bass. The interplay here is crucial: there's a duality in the album's production between grit and glitter, between heaven and earth, and Segal continually creates something just as gorgeous as it is menacing. "Speak Gently" begins as a riff-heavy electric guitar piece, but morphs into something much more fascinating as Self Jupiter's verse crashes into the track, hitting out of nowhere like the edibles you forgot you took an hour ago. From here on out we catch glimpses of pianos, of records scratching, of strings just ominous enough to assert themselves in such a cacophony of sounds; Segal is an expert of balance, and each track is so densely arranged that there are entire lands to discover across his soundscapes on your umpteenth listen.

That Woods and Segal play off of each other is no surprise, considering the quality of the duo's choice in guest collaborators on the project. The aforementioned Self Jupiter verse is the record's highlight in terms of features, not only for its song-altering magnetism but for the rapper's icy delivery; however, Armand Hammer's own ELUCID delivers a show-stopping intro on "Crawlspace" as well, matching the album's tone and themes in lines such as "I reside inside a nigga-rigged time machine / Powered by bones of those who choose to survive by violent means / Plain sight or hiding behind the scenes." The album's most unexpected stroke of genius comes in the form of MOTHERMARY's hook on "A Day In A Week In A Year". Woods has tried his hand at the classic female-singer-on-the-hook formula before in songs like "Blue Dream" and "Strawman", but despite some infectious results, it has never felt like a natural fit for him until now. MOTHERMARY's slight vocal performance combines with Segal's electronic-adjacent production to set a meditative tone that perfectly matches the song's heart. At that heart, I should add, is a tale of everyday poverty and longing in Brooklyn, one of the album's clearest and most powerful narratives.

And it would be disingenuous not to mention lyrical clarity in any discussion of Billy Woods. As longtime fans know, he revels in obscurity, framing each bar as its own story typically independent of each other. Finding thematic connections between lines and verses can be difficult, and it's safe to assume that you're probably missing a few references even after you get to know any one of his albums intimately. His Pynchonian knack for pop culture references that range from obvious to unheard of creates an atmosphere similar to a Gravity's Rainbow, or perhaps a William Gaddis/Joseph McEllroy novel, each project a tome of "did you catch that?" puzzlement that can be either hopelessly baffling or unbelievably satisfying, depending on where your musical priorities lie. Much like his L.A.-based contemporary, Busdriver, Woods asks his listeners to let his poetry wash over you, rather than to search for meaning in every nook and cranny. It's about the sense of exhaustion that pervades a song like "Checkpoints", or the melancholy of "A Day in a Week in a Year", rather than any specific "gotcha" moments a listener has when they understand a song as a whole. Those moments come often on Hiding Places, but only if you give the album the attention it asks of you.

As mentioned earlier, Woods keeps his heart hidden above all else. Towards the back end of the album, he raps, "Really want to keep a secret? Hide it from yourself"; this can be seen as the project's mission statement. For all the deception, all the lies we tell to protect ourselves and others, for all the secrecy required to live in this country, in this world, for all of our desperate attempts to cling to a past that never existed, there's nothing more damning than the barriers we erect within our own souls. Woods raps about institutional horrors – police brutality, cycles of poverty, histories of institutional racism, the fall of empires – but the question this album asks is: what do these horrors force us to tell ourselves? What do we convince ourselves of, what are we conditioned to hide, just to cope with the banal brutality of our own reality? And if we bury these things, where do we keep them?

The album closes with "Red Dust, the project's angriest and most heartbreaking moment. In this track, Woods fantasizes about the harm he wants to inflict on an unnamed subject, harm that borders on and intermingles with sexual desire. "I can't wait, dream about it like sex… I want us to be alone in your home / I want to suck the marrow out your bones / I want to show you what I learned from the worst people I ever known." The song is full of horrific imagery, but the sentiment never comes across as a threat, only a hopeless dream. The target of Woods's dead frustration is unknown, but this expression of hatred is the only verse where the rapper lays everything bare, expresses exactly how he's feeling. It's all here for us to see, hidden in a song.

Favorite Lyrics by /u/ItsBigVanilla

Too scared to write the book, took it put it in the hook

Of a song, no one listened to it, looks like I wasn't wrong

Hid it where they wouldn't look, lookin' like Zedong

Lookin' at Taiwan like "Look they shook, let's get it on"

• "Spongebob"

My goals is limited, just want to be the best

Just something to get from one day to the next

Best tour advice I ever got, "You're better off beatin' your dick"

Reading your Bible, sweat beading on your lip

FBI agents listening, Dr. King motel bed springs, this some freaky shit

• "Checkpoints"

I was in the ceiling when they swept the building

I kept my head down when the cops came for the children

I rode the train every day past that fucking prison

I broke bread with killers and rapists

I got money with niggas you should not leave with a child for two fucking seconds

• "Red Dust"

Muffle, cover the mouths of children when you hear the beast

Shuffle to another door, something scuttled across the floor

Belt buckle whip you raw, stood up all night, every plan had a flaw

Pried every board from the floor, pride before fall but he fell short

Both hands wrapped in gauze, stole fire from God, your lord

And I'm just wondering what she was thinking when she paused

• "Houthi"

Discussion Questions by /u/ItsBigVanilla

• 1) Which lines from Hiding Places have been nagging at you since release? By that I mean, which bars have you been unable to penetrate or begin to understand?

• 2) Months after Hiding Places was released, Woods dropped Terror Management. In interviews, he has stated that TM was much more spontaneous and less arduous to write and record. How do the two projects complement each other, and which one do you prefer?

• 3) Now that we've seen Woods work with the likes of Blockhead and Kenny Segal on full-length albums, who would you like to see him collaborate with next?

• 4) Has Billy Woods finally topped History Will Absolve Me? None of his projects since have quite matched that masterpiece until now. Is it time that we acknowledge a potential new career best?

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Daily Discussion Thread 01/03/2020

Posted: 03 Jan 2020 02:56 PM PST

Welcome to the /r/hiphopheads daily discussion thread!

This thread is for:

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Rage Against the Machine - Killing In the Name

Posted: 03 Jan 2020 02:02 PM PST

FINAL FIRST WEEK SALES NUMBERS FOR 2019: JACKBOYS' "JACKBOYS" sells 142K First Week (66K Pure). NLE Choppa's "Cottonwood" sells 12K First Week (Less than 1K Pure).

Posted: 03 Jan 2020 03:49 PM PST

Rank Artist Album Label Pure Sales Sales + Streaming
1 Post Malone Hollywood's Bleeding Republic 200,000 489,000
2 Kanye West JESUS IS KING G.O.O.D/Def Jam 109,668 264,000
3 Khalid Free Spirit Right Hand Music/RCA 82,000 202,000
4 Ed Sheeran No.6 Collaborations Project Atlantic 70,000 173,000
5 Tyler, The Creator IGOR Columbia 77,716 172,377
6 Juice WRLD Death Race For Love Grade A/Interscope 42,648 164,076
7 DaBaby KIRK Interscope 7,833 146,512
8 JACKBOYS JACKBOYS Cactus Jack/Epic 65,688 141,740
9 Summer Walker Over It LoveRenaissance/Interscope 14,000 133,507
10 DJ Khaled Father Of Asahd We The Best/Epic 32,466 131,717
11 Young Thug So Much Fun Atlantic 5,142 131,000
12 NF The Search NF Real/Caroline 84,000 130,000
13 Future Future Hndrxx Presents: The WIZRD Freebandz/Epic 11,829 125,251
14 Dreamville Revenge Of The Dreamers III Dreamville/Roc Nation/Interscope 23,000 115,000
15 YoungBoy Never Broke Again AI YoungBoy 2 Never Broke Again/Atlantic 3,114 110,000
16 Drake Care Package OVO/Republic 16,933 109,891
17 Chris Brown Indigo RCA 28,000 108,000
18 Chance The Rapper The Big Day N/A 27,000 108,000
19 Trippie Redd A Love Letter To You 4 TenThousand/Caroline 14,144 102,707
20 Roddy Ricch Please Excuse Me For Being Antisocial Atlantic 2,487 100,902
21 Gunna Drip or Drown 2 Young Stoner Life 8,806 89,955
22 Offset FATHER OF 4 Quality Control/Motown/Capitol 6,622 88,311
23 Tory Lanez Chixtape 5 Mad Love/Interscope 7,345 84,313
24 Nav Bad Habits XO/Republic 24,000 82,000
25 Logic Confessions of a Dangerous Mind Def Jam 24,638 81,417
26 ScHoolboy Q CrasH Talk TDE/Interscope 20,479 81,000
27 Rick Ross Port of Miami 2 Epic 25,000 80,000
28 BROCKHAMPTON GINGER RCA 55,428 77,122
29 Lil Nas X 7 Columbia 4,215 77,000
30 Kevin Gates I'm Him Bread Winner's Association 14,970 76,000
31 Lionel Richie Hello From Las Vegas Capitol 67,256 67,355
32 2 Chainz Rap Or Go To The League Def Jam 14,912 64,960
33 XXXTENTACION Bad Vibes Forever Bad Vibes Forever/Empire 5,352 64,914
34 Quality Control Quality Control: Control The Streets Volume 2 Quality Control/Motown/Capitol 2,000 63,000
35 Lil Tecca We Love You Tecca Galactic/Republic 4,048 60,777
36 Anderson .Paak Ventura 12Tone/Interscope 39,000 55,000
37 Lil Skies Shelby Atlantic 6,413 54,270
38 Trippie Redd ! TenThousand 6,662 51,110
39 Beyonce The Lion King: The Gift Parkwood/Colombia 12,135 50,976
40 Jeezy TM104: The Legend of the Snowman Def Jam 22,112 49,983
41 Lil Pump Harverd Dropout Warner Bros. 21,966 45,875
42 Lil Tjay True 2 Myself Columbia 648 45,636
43 Lil Durk Love Songs 4 The Streets 2 Alamo/Interscope 4,000 44,000
44 Solange When I Get Home Columbia 12,549 43,808
45 Rich The Kid The World Is Yours 2 Interscope 1,486 42,323
46 Future SAVE ME Freebandz/Epic 5,000 42,000
47 PnB Rock TrapStar Turnt PopStar Atlantic 1,750 41,983
48 Lizzo Cuz I Love You Atlantic 26,496 41,701
49 YNW Melly Melly vs. Melvin Atlantic 1,208 41,533
50 Fabolous Summertime Shootout 3: Coldest Summer Ever Def Jam 5,424 40,572
51 Moneybagg Yo 43VA HEARTLESS Interscope 5,000 40,000
52 Machine Gun Kelly Hotel Diablo Bad Boy/Interscope 16,000 39,000
53 Polo G Die A Legend Columbia 833 38,000
54 Wale Wow... That's Crazy Warner 5,683 38,000
55 Beyonce HOMECOMING: THE LIVE ALBUM Parkwood/Columbia 14,175 37,672
56 YG 4REAL 4REAL Def Jam 4,041 36,634
57 Mustard Perfect Ten 10 Summers/Interscope 1,412 36,000
58 J Balvin & Bad Bunny OASIS Universal Music Latino 5,517 36,000
59 Young Dolph & Key Glock Dum and Dummer Paper Route/Empire 1,997 35,337
60 Kehlani While We Wait Atlantic 6,836 33,056
61 Gucci Mane Delusions of Grandeur Atlantic 2,196 31,488
62 City Morgue CITY MORGUE VOL 2: AS GOOD AS DEAD Republic 29,501 31,183
63 Gucci Mane Woptober II Warner 2,584 30,322
64 Lil Peep EVERYBODY'S EVERYTHING Columbia 11,317 27,360
65 Megan Thee Stallion Fever Certified 3,790 27,040
66 YBN Cordae The Lost Boy Atlantic 2,679 25,554
67 French Montana MONTANA Bad Boy/Epic 5,510 24,523
68 Tyga Legendary Last Kings/Empire 3,501 24,280
69 Jaden ERYS MSFTS/Roc Nation 4,558 23,966
70 Nas The Lost Tapes 2 Mass Appeal/Def Jam 12,489 23,617
71 Lil Mosey Certified Hitmaker Mogul Vision/Interscope 1,457 23,365
72 The Game Born 2 Rap EOne 4,848 22,979
73 Big K.R.I.T. K.R.I.T. IZ HERE BMG 8,914 22,870
74 Daniel Caesar CASE STUDY 01 Golden Child 1,635 22,412
75 Dave East Survival Def Jam 5,669 22,319
76 Young M.A Herstory in the Making M.A. Music 5,454 22,219
77 James Blake Assume Form Polydor 9,398 21,215
78 DaBaby Baby On Baby Interscope 1,268 20,593
79 Tee Grizzley Scriptures Grizzley Gang 1,248 20,524
80 YNW Melly We All Shine P2019 497 18,948
81 Bazzi Soul Searching IAmCosmic/Atlantic 1,387 18,873
82 Ozuna Nibiru VP/Dimelo 2,619 18,769
83 Yelawolf Trunk Muzik 3 Slumerican/Shady/Interscope 12,515 18,767
84 Kirk Franklin LONG LIVE LOVE Fo Yo Soul/RCA 14,550 18,582
85 Doja Cat Hot Pink Kemosabe/RCA 2,560 18,434
86 BLACKPINK Kill This Love YG/Interscope 8,197 18,410
87 Boogie Everythings For Sale Shady/Interscope 3,264 18,397
88 Missy Elliott ICONOLOGY Atlantic 10,982 17,486
89 Denzel Curry ZUU Loma Vista 1,999 17,286
90 Wiz Khalifa & Curren$y 2009 Atlantic 3,591 16,883
91 Kevin Gates Only The Generals Gon Understand Bread Winner's Association 3,956 16,795
92 Freddie Gibbs & Madlib Bandana RCA 6,535 16,604
93 G-Eazy Scary Nights RCA 5,551 16,593
94 Quando Rondo From the Neighborhood to the Stage NBA/Atlantic 391 16,346
95 Lil Keed Long Live Mexico Young Stoner Life 299 16,311
96 Beast Coast Escape From New York Columbia 7,301 16,093
97 G Herbo & Southside Still Swervin Machine 831 16,028
98 XXXTENTACION XXXTENTACION Presents: Members Only, Vol. 4 Members Only/Empire 1,722 15,791
99 Calboy Wildboy Polo Grounds/RCA 287 15,775
100 Tech N9ne N9NA Strange Music 10,443 15,659
101 Jacquees King Of R&B Cash Money/Republic 1,899 14,950
102 Lil Tjay F.N Columbia 349 14,883
103 blackbear ANONYMOUS BearTrap/Alamo/Interscope 5,390 14,473
104 Ugly God Bumps & Bruises Asylum 2,939 13,752
105 JayDaYoungan Misunderstood Atlantic 239 13,592
106 Comethazine BAWSKEE 3.5 Alamo 335 13,420
107 Blueface Dirt Bag Cash Money 387 13,209
108 Yung Gravy Sensational Republic 4,510 12,841
109 SAINt JHN Ghetto Lenny's Love Songs Godd Complexx/HitCo 3,613 12,540
110 NLE Choppa Cottonwood NLE Choppa/Warner/United Masters 226 12,426
111 A$AP Ferg Floor Seats Polo Grounds/RCA 1,148 12,161
112 EARTHGANG Mirrorland Dreamville/Interscope 2,090 11,856
113 Money Man Paranoia Black Circle 621 11,849
114 DJ Snake Carte Blanche Geffen 1,682 11,698
115 Stunna 4 Vegas BIG 4x Billion Dollar Baby/Interscope 400 11,648
116 YFN Lucci 650Luc: Gangsta Grillz Think It's A Game/Warner 1,267 11,227
117 Rod Wave Ghetto Gospel Alamo/Interscope 508 11,157

Top 10 First Weeks of 2019 Across All Genres

Rank Artist Album Label Pure Sales Sales + Streaming
1 Taylor Swift Lover Republic 700,334 885,349
2 Post Malone Hollywood's Bleeding Republic 210,283 492,854
3 Harry Styles Fine Line Columbia 385,825 476,310
4 Jonas Brothers Happiness Begins Republic 351,495 405,460
5 Ariana Grande thank u, next Republic 111,912 354,954
6 Billie Eilish WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? Darkroom/Interscope 165,277 307,069
7 Tool Fear Inoculum Volcano/RCA 252,120 270,411
8 Kanye West JESUS IS KING G.O.O.D/Def Jam 109,668 264,000
9 Backstreet Boys DNA K-Bahn/RCA 229,107 236,196
10 BTS MAP OF THE SOUL: PERSONA BigHit/Columbia 195,676 229,775

FAQ:

Q: Source?

A: http://hitsdailydouble.com/sales_plus_streaming

Q: How is this list sorted?

A: It's sorted by sales + streaming

Q: What are pure sales?

A: Pure sales are purchases of the album (itunes, amazon, physicals, etc)

Q: Where is X album?

A: Only albums that make the top 50 in sales+streaming for their debut week are counted

Q: Isn't that kind of low for XXXTENTACION and Beyonce?

A: Members Only, Vol. 4 and Homecoming dropped on a Wednesday meaning that they lost out on 5 days of sales.

Q: Why do some albums show exact sales numbers while others do not?

A: The albums that do not show exact numbers are the ones that have had sales corrections from Billboard

Q: Where can I find last year's list?

A: 2018 list, 2017 list, 2016 list

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Behold: The 99¢ store version of Rick Ross's "The Devil Is A Lie", performed by some white dude dropping hard-R N bombs the whole time. My friends and I have been trying to find the story behind this for years now.

Posted: 03 Jan 2020 03:58 PM PST

[FRESH] Antonio Brown - ‎Whole Lotta Money

Posted: 03 Jan 2020 08:47 PM PST

TA13OO Album Breakdown: Act Two

Posted: 03 Jan 2020 10:01 AM PST

Act Two

Video Adaptation

Part One

Intro- After his rise to notoriety in the first act, Denzel became plagued with issues he called his "Black Balloons". While he was able to push these issues away temporarily, they return with a vengeance on the grey side of the album, where Denzel's success shows him the darker sides of his friends, his country, and his fame. The album's second act shows Denzel's transformation from a life of excess, as seen in the character of Denny Cascade, into one of anger and pain, shown through the Black Metal Terrorist. This point is made clear within the name Denzel chose for his initial character. A cascade is a process where something is passed on, and the character of Denny Cascade shows Denzel passing into a state of darkness within himself. It also references how the happiness Denzel feels through the excess of Denny, will eventually pass, and he'll have to confront the issues he previously disregarded.

ZUPER ZA1YAN ZUPERMAN- Denzel begins act two still in the form of Denny Cascade, and continues to boast about his wealth and power, this leads to what is, by far, the most braggadocious track on the entire record, "ZUPER ZA1YAN ZUPERMAN". On the song, Denzel compares his rapping ability and success to having superhuman strength, but despite his outlandish boast, there are hints of truth laced throughout his verses. One lyric that shows the true nature of Denzel's position comes at the start of his first verse, where he declares that he doesn't mess with anyone that kills his vibe. This furthers the idea that Denzel, in his state of fame, chooses to ignore his issues and purposefully avoids those who confront him with the truth. Another hint as to Denzel's eventual fate comes from the comparisons he draws between himself and deities such as Buddah or Shiva. Concepts of self-deification and its repercussions are prevalent throughout Hip-Hop, for example, Kanye West proclaimed similar things on his 2013 album Yeezus. There, Kanye openly declared himself a god, and throughout the course of the work showed how despite feeling god-like power from success, he was still mortal. On Yeezus, Kanye chose to mask his true pain in alcohol and money after gaining success, this is similar to Denzel who ignores the underlying issues within his life in favor of a world filled with money and fun. Much like Kanye on Yeezus, soon after his declaration of being a god, Denzel will be humbled through confronting the harsh truths of his existence.

ZWITCH 1T UP- While the cracks in Denzel's life have been apparent on the album so far, "ZWITCH 1T UP" marks the point where Denzel's world comes crashing down around him for the first time. On this track, Denzel details the untrustworthy nature of those around him, and his fears that he'll fall into obscurity . He establishes these themes on the hook, where he compares the switching tendencies found in the attitudes of those around him, to overnight switches of relevancy experienced by musicians. The track presents Denzel as someone who is unsure of much within his life, and is finally acknowledging the issues of his success. Denzel's blissful ignorance is gone and replaced by a scared and paranoid mindset. He details his fears in his verses, beginning with the question of "To be or not to be?". This is, of course, a reference to the classic line from Shakespear's Hamlet. In the context of the play, this line shows Hamlet trying to decide whether it is better to live or die. This fits into Denzel's story by showing that the is contimplating suicide in the wake of the realizations he's had about his life. The rest of Denzel's verses follow similar themes, showing how he feels lost and abandoned in his world of fake friends and paper chasing. One important theme that Denzel introduces here is that of his lost friend XXXTENTACION. The loss of X changed many things for Denzel, who saw him as one of his only trustworthy peers within the music industry. He makes reference to X's song "Moonlight" to show that one of the only friends Denzel could rely on, was taken from him, leaving him with no one. It's quite possible that the death of X was the very thing that sent Denzel down this path of darkness in the first place, and snapped him out of his trance-like mentality after achieving success, causing him to question those around him. While this is a good thing for Denzel, without someone there to center him, he's going down a dark and violent path, similar to the one that got X killed.

MAD 1 GOT 1T- "MAD I GOT IT" is a song heavily linked to the previous track, "ZWITCH 1T UP". On "ZWITCH 1T UP", Denel spoke about those around him being untrustworthy, but here he focuses on the money-hungry nature of these people, outlining how instead of being happy for him, those close to him only attempt to profit from his fame. This is made clear in the song's chorus, where Denzel talks about how those who desire his success are just jealous of his lifestyle. Denzel's braggadocious nature is presented throughout his first two verses, where he speaks on how his struggle to gain fame and success was a long and difficult one, and he now believes that he owes nothing to those who couldn't achieve what he did. However, Denzel shows the truth of his situation, saying that the only reason he's become such a greedy person, is because of all the pain he's gone through, which turned his heart cold. This cold heartedness is leading Denzel on a path to darkness, as seen at the end of his second verse where he claims to be ready to kill anyone who would attempt to take his money. Denzel said much of the same on "ZUMO", but it's only now seen as a serious threat, showing that this violent mentality has been present within Denzel for some time, but has only now come to the surface. Denzel also makes another important reference to the late rapper XXXTENTACION here, and his song "I'm Sippin Tea In Your Hood", Denzel says, "Still in the hood and I still sip tea". While on the surface this line seems like Denzel saying that he's still keeping X's memory alive, in actuality, it shows that Denzel is retaining the more negative and violent parts of X within himself. The songs third verse really puts the rest of the track into context, and sees Denzel rapping about a time when he acted in the same way as those who are now trying to take his money. Therefore, Denzel is coming to terms with the problems of those around him, but refusing to accept that those same issues are present within himself. This is the same type of denial that led to the creation of Denzel's many Black Balloons, and it's apparent that he's only adding onto them here.

Z1RENZ- After Denzel's repeated violent and defensive behavior, "Z1RENZ" gives some insight into why Denzel acts this way. He shows on this song that along with past traumas, his own country is responsible for the way he feels about others. Over the course of his life, America has turned its back on Denzel and his race countless times, and this has instilled a deep sense of distrust within him. "Z1RENZ" is a classic song of protest, and draws from Denzel's love of other protest focused bands such as Rage Against the Machine. Because of this, it's not surprising that when Denzel performed a cover of Rage Against the Machine's 1996 song "Bulls on Parade", he chose to incorporate bits of "Z1RENZ" into his verses. In an Interview with Triple J Denzel expanded on this connection saying, "Everything that I was saying in Rage Against the Machine's "Bulls on Parade" was basically everything I was saying on "Z1RENZ" and the reason why I chose that verse is because it fit, and it's just like it still goes on in America". Denzel used "Z1RENZ" as his very own protest anthem and waste no time proving this, beginning his song with an impactful call to action in the chorus. The chorus is written from the perspective of God, and shows him telling those he created not to let him down when they are forced to combat those who hold them back. On this chorus, Denzel is essentially telling those who are oppressed, that a day will come when they defeat their oppressors, but the battle won't be easy, so it's important for them to stand their ground no matter what. The chorus also gives an interesting meaning to the song's title, using sirens as both a reference to the police sirens associated with police brutality, that Denzel will explore throughout this track, and also the call of sirens, mythical sea monsters that would lure me to their deaths. Sirens serve a personification of the corrupt system that attempts to oppress Denzel, whether it be through outright injustice or sneakily luring him into suppression. Denzel uses his first verse to paint a detailed picture of the system he feels oppression from, beginning by saying that despite countless attempts at progress, he's never seen any real change within the government. He instead compares a girl turning gay because of date rape to how minorities turn to crime since the goverment has never shown them true love. It's clear from these first few lines that Denzel has seen no progress within the system he feels wronged by, and believes that since things have gotten so bad, there will soon be a day when the system collapses. However, Denzel doesn't sugar coat the reality that he too is part of the wider system's problems, since he's "never voted" he's allowed people to be elected that have oppressed his community, and through "Z1RENZ" Denzel means to write his wrongs by taking action. He ends his verse by dedicating the song to both Travon Martin and his brother Treon Johnson, two young African American victims of police brutality. Denzel cleary believes that police brutality is a product of the government's oppression and finishes his verse by vowing to take action against the unjust world that has stolen the lives of so many close to him. The second verse comes from Atlanta rapper JID, and sees him using an unhealthy relationship with a woman to represent his relationship with America. JID details the struggles of sometimes feeling like America is on his side, and at other points being left heartbroken over America's treatment of him. He eventually realizes that America doesn't care about him, and sings a twisted version of the Star-Spangled Banner, which outlines America's many issues, instead of the pride he feels for his country. Denzel's final verse further details the pain of his experiences, making reference to the crack epidemic, which many believe was created by the government to suppress black people. While Denzel has attempted to pull back the curtain on America's injustices throughout the song, the final verse leaves him in a darker place than ever before, as he seemingly realizes there is no escape from his oppression. Saying that no matter how hard he works in life, something as simple as gunshot could leave it all falling apart. He ends the track by saying that he sees the devil grinning at him, a reference to how in failing to stand his ground, like God wanted, he's fallen into the hands of the devil.

CLOUT CO13A1N- After being pushed into a worser place than ever before, Denzel finally makes the transition to full darkness in the song "CLOUT CO13A1N". Denzel is clearly suffering from serious mental health issues, such as depression, and "CLOUT CO13A1N" details how, even with his fame that draws the attention of many towards him, Denzel feels abandoned. He outlines his views with the track's title, referencing Nirvana front-man Kurt Cobain, who committed sucide due to the pressures of fame, and linking Kurt to the Clout chasing nature of current artist, who will do anything to achieve fame, even if it comes at the cost of their happiness. Denzel chose to block out serious issues within his life earlier in the album so he could embrace his excessive lifestyle, and because of this he's now in a place much like Kurt Cobain before his suicide. Denzel shows his reality within the track's pre-chorus where he discusses how the pressures of fame are driving him to suicide with the line, "I just wanna feel myself, you want me to kill myself". This line is directed at Denzel's fans who instead of wanting Denzel to seek help, would rather him continue to produce music for their enjoyment. One of the most telling lines of the song comes in the chorus, where Denzel says, "Suicidal Doors, Call it Kurt Cobain". This serves as a reference to the Suicide Doors of luxury cars, and Denzel is making the point that for many who achieve fame, the doors of a sports car, and thoughts of suicide come hand in hand. Denzel reinforces the themes of fame's dark side he's presented through the album in his verses, claiming that he can't trust any of his friends and drowns out his pain with money. Denzel also furthers his connections between his lifestyle and the call of the Devil with the line, " I gotta thank the Lord, I gotta go record." This lines shows that Denzel is being pulled between a life of righteousness and one built off the back of fame and money.

Grey Side Conclusions- After attempting to come to terms with the issues plaguing his life, Denzel only feel deeper into the rabbit hole of success. Now instead of remaining blissfully ignorant, Denzel is fully aware of his situation, but feels helpless to do anything about it. Whether it be from his friends, enemies, or even his own country, Denzel feels the forces of darkness closing in on him from all sides. With no-one in his corner, Denzel will be helpless to prevent his dark and violent transformation into the Black Metal Terrorist in the album's third act.

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Stormzy's Own It is the UK's first Number 1 single of 2020: "Words aren't enough, but thank you"

Posted: 03 Jan 2020 12:17 PM PST

DMX - Where The Hood At?

Posted: 03 Jan 2020 03:07 PM PST

Future - Wicked

Posted: 03 Jan 2020 02:11 PM PST

Killer Mike - "Reagan" (Official Music Video)

Posted: 03 Jan 2020 04:33 PM PST

Mos Def - Auditorium (ft. Slick Rick)

Posted: 03 Jan 2020 07:11 PM PST

Dizzee Rascal - Sittin' Here

Posted: 03 Jan 2020 09:52 AM PST

Gucci Mane - Confused ft. Future (World War 3 Lean)

Posted: 03 Jan 2020 05:11 PM PST

[FRESH] 2 Chainz - Falcons Hawks Braves

Posted: 03 Jan 2020 02:07 PM PST

[FRESH ALBUM] Salaam Remi - Do It FoR the CulTuRe, Vol. 2 (featuring Nas, Amy Winehouse, Busta Rhymes, Joell Ortiz, Boedga Bamz, etc.)

Posted: 03 Jan 2020 09:05 AM PST

REASON - Flick It Up (Remix) ft. Bas, Junii & Jah The Great

Posted: 03 Jan 2020 12:14 PM PST

[DISCUSSION] Ghostface Killah - 36 Seasons (5 Years Later)

Posted: 03 Jan 2020 11:24 AM PST

36 Seasons is the eleventh studio album by American rapper and Wu-Tang Clan member, Ghostface Killah. It was released on December 9, 2014, by Tommy Boy Records.

In a December 2014, interview with HipHopDX, Ghostface Killah said it took about 11 days to record the album. Like Ghostface Killah's previous album, Twelve Reasons to Die, 36 Seasons is a concept album. The album follows the story of Tony Starks as he returns to Staten Island after nine years away seeking a quiet life but he finds this will be difficult to accomplish.

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New Music Friday: January 3rd, 2020

Posted: 03 Jan 2020 08:56 AM PST

Albums

Viper - One Day You'll See Me Again*

Westside Gunn - Flyest Nigga in Charge Vol. 1

LIL DARKIE - THIS DOES NOT EXIST

DirtyDiggs - The Last Ones to Three Peat

Sada Baby - Brolik*

Smif-n-Wessun & Cookin Soul - Stockin' Stuffers: Hood Xmas

Estee Nack & al.divino - THE DOOR

Curtis Williams - Mister Lonely (Deluxe Edition)

EPs

Famous Dex - DEXTER 2031

Ugly God & Rizzoo Rizzoo - UglyGoblin

Singles

RiFF RAFF - GALLON OF CiROC*

2 Chainz - Somebody Need To Hear This*

Mick Jenkins - Carefree

TeeJayx6 - 2020 / new years freestyle

Dominic Fike - Falling Asleep / Batshit

Your Old Droog - Crab Cakes (feat. Prodigy)

Lil Tjay - 20/20

Wiley - Curiosity Killed the Cat

CZARFACE - Couch

Moneybagg Yo & Lil Baby - U Played

Medhane - Nadeadass (Bori)

Quando Rondo - Bad Vibe (feat. A Boogie Wit Da Hoodie & 2 Chainz)

24kGoldn - Valentino (Remix) [feat. Lil Tjay]

Young Thug - Cant You Tell

thouxanbanfauni - KickBack (feat. Terrance Escobar)

ILOVEMAKONNEN - Freestyle of the Decade (2010s)

Swae Lee - Cap Backwards (Feat Nicki Minaj)

Yung Pinch - Beach Ballin (feat. Blackbear)

iann dior - Dior Chain

Lil Tr33zy - Wolf (feat. A Boogie Wit Da Hoodie)

BabyTron - New Year, Same You

* means potentially not on streaming

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Rage Against The Machine - How I Could Just Kill A Man (Cypress Hill cover)

Posted: 03 Jan 2020 04:28 PM PST

El-P - Dear Sirs

Posted: 03 Jan 2020 11:03 AM PST

Dizzee Rascal - I Luv U

Posted: 03 Jan 2020 12:12 PM PST

Boldy James - Reform School feat. Earl Sweatshirt, Da$h & Domo Genesis (prod. by The Alchemist)

Posted: 03 Jan 2020 09:37 AM PST
at

Album of the Year #2: Quelle Chris - Guns - HipHop

Album of the Year #2: Quelle Chris - Guns - HipHop

Album of the Year #2: Quelle Chris - Guns

Posted: 02 Jan 2020 05:49 AM PST

Artist: Quelle Chris

Album: Guns

Listen

YouTube

Spotify

Apple Music

Bandcamp

Background

One of Detroit's true odd-balls, Quelle Chris got his start in 2006 with fellow wordsmith Denmark Vessey, forming the duo known as Crown Nation, releasing their debut LP $lutbag Edition in 2008. Linking up with Danny Brown shortly after, Chris is credited as a writer for many of Brown's early work, even going as far to produce several tracks on The Hybrid. In fact, they ran in such a tight circle that Quelle used the same beat from Danny Brown's XXX on his 2011 debut solo album Shotgun & Sleek Rifle; (Quelle's "MTFO" uses the same beat as Brown's "Nosebleeds").

Quelle began his rise to underground prominence after his 2017 album Being You Is Great! I Wish I Could Be You More Often was met with critical acclaim, landing at #26 on Anthony Fantano's end of year list, #11 on Rolling Stone's best rap albums of 2017, and #12 on bandcamp's end of year list.

Quick to follow up what was clearly his best album yet, shortly after getting engaged to legendary underground MC Jean Grae, these two came together in 2018 to release their collaborative effort Everything's Fine, which was somehow even more well received than Being You Is Great. It was awarded Best New Music by Pitchfork, and was hailed as the best album of 2018, landing at #1 on bandcamp's end of year list.

After two albums in back to back years, both of which are widely regarded as his best works, a big question arose. Could Quelle keep this hot streak alive? Would he be able to continue making his unique, odd-ball flavor of hip-hop work in his favor, or would his nasal tone and eclectic beat selection come off as self-indulgence for the sake of self-indulgence? On March 29, 2019, Chris was given the chance to confirm whether his past two albums success were an outlier, or if he would finally cement himself in this decade's underground hall of fame.

Album Review

In Quelle's own words, from his bandcamp page:

Guns is an arsenal of both sounds, styles and subjects. At its core it's about things that can be weaponized for good or evil, including ourselves. The words we say, what we fear, how we love, how we live, what we ingest, what we believe in, who we idolize, shit like that. Somewhat a sonic study of the question "do 'guns' kill people or do people kill people?

On Guns, Quelle examines not only the obvious sources of violence in American society, the literal guns, but the root cause(s) of where these violent urges stem from. "Guns" simultaneously acts as a metaphor for how institutions are weaponized to hold people down, as well as the weapons we have to fight back against an inherently corrupt system. Quelle explores these concepts with beautiful intricacy and depth.

LITERALLY (more patriotic than pie)

With a title like Guns, you might expect Quelle to utilize an aggressive sonic direction, using the beats to act as a metaphor for the loud and violent state guns exist within. However, Quelle instead opts to let his pen sprawl the concept. With the opener "Spray and Pray", producer Dane sets the tone of the album with a simple kick and snare pattern featuring a thicc snare, while a tall, walking bassline backs the drums, creating an unsettling, yet simultaneously comforting vibe for Quelle to spit his socially conscious bars with his trademark mellow and monotone flow. At only 1:30, Quelle is able to pack a surprising amount of thought provoking bars into the brief track.

Quelle sets the lyrical tone of the album, nailing several major points regarding gun culture in America with multiple tightly packed one liners. Mentioning his original friend cohort and their eventual lifestyle change, concluding that a 401k is more useful than an AK-47. Commenting on the culture surrounding gun safety that he has experienced; where young people refuse to utilize their safeties, and how that mentality translates into adults who are intentionally reckless with their arms. The most poignant piece of commentary here is found in the bridge, where Quelle uses "all guns for hire" as a metaphor for the massive lobbying power provided to the NRA, who use that power to spread misinformation regarding gun violence in order to maintain the current status quo.

This song ends abruptly, with Quelle seemingly getting ready to go in for a second verse, when he is stopped short by…

Praying the climate changing, this game maintained by the youth

Watching 'em run and gun 'til they grow up to be like (gunshot)

...you guessed it, a gunshot. Quelle uses the opening track as an opportunity to create a library of generic gun violence talking points, almost in an attempt to get them out of the way. This is what the album would be if he were to address this deeply nuanced topic from a strictly surface level perspective. Instead, we are blessed with Quelle diving deeper into the social and cultural aspects of gun violence on the following track.

We then dive directly into the title track "Guns", opening with a cascade of jazzy piano keys and a super smooth synth chord progression to compliment it, which then breaks into these double time opened snare claps, providing Quelle an up-tempo, bright and colorful backdrop to spit hyper conscious lyrics, beginning with the foundation as to what drives American's obsession with guns.

Not unlike many different cultural phenomena, Quelle views the American fanaticism with guns as a learned cultural expression. He provides a few examples of how a weapon, that ideally should be used for protection, can be normalized in a person's youth to the point where it's not viewed as a weapon anymore. If a twenty-two caliber bullet is viewed as "more patriotic than pie", or if you learned how to fire a weapon before you could even spell, then gun use has been deeply ingrained into your psyche and is now a standard aspect of your life. However, it's not simply the presence of guns that has been normalized; it's the misuse of these weapons as toys, and their appropriation as status symbols that has been normalized. The bigger your guns, the stronger you are. This is a fallacy that Quelle builds around for the duration of this album.

In the second verse, Quelle is able to extrapolate the idea that guns are an integral part of American culture, imagining himself in the shoes of someone who was raised with this world-view, reacting to some of the proposed gun control measures.

They hollering give me back my bullets, Lynyrd Skynyrd, new Van Zants

If you own it, then you'll pull it, maybe so, probably not

They spend billions like civilians won't catch trickle from the top

Just to protect or to progress what but little bit we got

Bruh-bruh, I'm your friendly neighbor, I stay on yo block

I protect and service, I big game, buckshot

Ain't no cracking that code, ain't no safety on locks

Might as well get you one, procrastinating will get you popped

After reeling from the unsurprising animosity to the proposed gun control measures, Quelle attempts to bargain with this "person" (not really an individual, more a representation of a group think). As their "friendly neighbor", he understands their desire for protection in their neighborhood. Quelle states that even he arms himself; although, it's likely with a hunting rifle or shotgun. Eventually realizing that there is no "cracking that code", or getting through to them. If they are not willing to listen, nothing will change, and his only logical course of action is to arm himself at an equal level to his neighbor because, as stated, "procrastinating will get you popped".

This verse does an excellent job of illustrating how the gun control argument in America has progressed on both sides. Instead of being clearly biased, Quelle presents viewpoints from both sides of the argument; showing how deeply ingrained guns are in American culture, and why people might be hesitant to willingly give up an aspect of their culture that they have always known. Simultaneously, it also illustrates the reaction that some people might take when their ideas to curve the widespread violence are immediately rejected; a reaction that will not only not solve the crisis, but exacerbates it. The idea that "if everyone has a gun, we would have no gun violence" only provides a sense of security on an individual level, not a systemic one.

All this is subtly expressed through Quelle's 16 bars. As he progresses in his career, Quelle's pen has become more and more impressive. Listening to the guy who once wrote a song called Super Fuck spew these incredibly socially conscious lyrics is almost shocking.

RACE & THE LAW (for the black, for the white, it's for all)

"Color of the Day" is a simple skit track, taking a subtle jab at law enforcement, and how simply performing mundane activities (walking, shopping, swimming, driving) "while black" is enough to get someone stopped by the police. Really, the skit is meant to provide some context to the following track, "Mind Ya Bidness".

Sounding like something straight out of a 1980's video game, and further confirmed that's exactly what Quelle was aiming for, with the music video, the self-produced "Mind Ya Bidness" is a representation of a few things. On the surface, it's an ultra low-key flex track, with Quelle describing his night at a club. Obviously, the first thing he does before he even leaves his house, is get baked with his wife. But don't try to take his weed, he'll have you praying for mercy. He then heads out to the club; the catch here being that Quelle doesn't like to stunt.

I ain't tryna stunt, I post in the back

Can't eat with them niggas, most them niggas is actors

You ain't got no homies, all your homies is rappers

If Quelle's at the club, he's hanging out in a back room with his ride or die friends and a shitload of weed. He mentions how he can't hang with these "actors", likely meaning other rappers that are putting on a facade. You may have more heads in their section, but they're not your homies. They're just dudes who are trying to get put on and chase clout.

The chorus outlines a small bit of social commentary with a double meaning, connecting the mellow flex-track to the overarching theme illustrated throughout the record.

'Cause me and mine 'bout to shine, that's for motherfucking sure

Feeling VIP, fill a zip full of motherfucking smoke

We got brown, we got white and some motherfucking Guinness

If Quelle feels like it's a VIP kinda night, he's gunna take a zip of weed and head out with his friends. In this case, it's a mixed crowd (figuratively and literally). He's got black friends, he's got white friends, and he uses "Guinness" as a metaphor for his mixed-race friends, as well as the literal interpretation of drinking beers.

And ain't nobody here tripping, so mind ya motherfucking bidness

This is the double meaning that Quelle is implying throughout the song. If a group of dudes are just chilling and not causing a disturbance, then there's no real reason for someone (a police officer) to not mind his business and leave them alone. Chris' poignant social commentary, speaking on the systemic racism that plagues law enforcement officers throughout the US, is illustrated in the music video as well; after being welcomed into the back room of the club and bartering with a dude, he is chased by a pig and put in handcuffs, while a white dude smoking a bong right behind the pig is ignored and gets off scott free.

I COULD STAND IN THE MIDDLE OF FIFTH AVENUE AND SHOOT SOMEBODY AND I WOULDN'T LOSE

"Mind Ya Bidness" ends with this real life quote from our Orange In Chief™ , delivered via vocal snippet collage, introducing the topic found on the following track.

Imagine; it's 2007 and presidential candidate Barack Obama gets in front of the press and starts talking about the strength of his campaign. He says, "I could stand in the middle of Fifth Avenue and shoot somebody, and I wouldn't lose any voters". How do you think this would have been received? I can tell you now, he would have been ostracized by the media and would have lost all the political support he had, nearly immediately. But Donald Trump, a person who had been in the media's spotlight for ages before he announced his candidacy, can say this and be met with a room full of applause. LAUGHTER. A ROOM FILLED WITH PEOPLE LAUGHED AS HE STATED THAT HE COULD MURDER PEOPLE IN BROAD DAYLIGHT.

And then he went on to win the fucking presidency.

"It's The Law (Farewell Goodbye Addio, Uncle Tom)" opens with a plucky, walking bass-line, backing these off-kilter, slowly marching kick-kick-open-snare patterns, creating a beat that's almost dragging its way through the track; an apt backdrop for the subject matter tackled, beginning with this skit:

It's God's and Nature's Law

That man attempt to prevail over his fellow man

Better to remember, that God is white

Would you mind repeating?

God is White; and as long as God is white

We will prevail over all other races

Both of these short skits are meant to outline white privilege; the former in a very real, recent vein, and the ladder in a more conceptual, abstract lane. It's been well documented that Jesus Christ was not white, yet he is continually portrayed as a white man. Why? Why do people who worship Jesus, the supposed Son of God, insist on viewing him through this white-washed lense? It's all about control. As long as God, or the Son of God, is white, they will prevail.

Both of Quelle's verses on this track are packed full of metaphors and imagery that depict how white supremacy has been a keystone building block of the foundation of the United States. I'll breakdown the subtleties of his first verse, as I find it to have some of the most intriguing metaphors and delivery I've heard this year.

Let he who is without cast the first 'Get-out-of-our-country'

Oh, the hypocrisy

Another tongue in cheek ode to the democracy

To help normalize the day to day atrocities

Quelle digs into this concept with brilliance right off the bat, repurposing one of Jesus's most famous quotes (John 8:7) to call out the double standard of people calling for a wall to keep out "criminals and rapists"

By the law of the land, as planned by the man upstairs

From Lehem with the long blonde hair

The USA was intentionally founded as a country with religious freedom, yet it has somehow been misconstrued as a "Christian Nation" by any number of religious fanatics screaming for America's laws to more accurately reflect the "morals of the Bible." Quelle directly references the fact that Jesus, who was born in Bethlehem, Israel, a middle eastern country, is generally depicted as having long blonde hair.

Oh, the irony

All these multi-culti hatin' whities

Who fetishize some brown on ivory

AKA bless the USA

In the true blue bloods who trust, American Way

Quelle continues to poke holes in their logic, this time with a beautifully executed double entendre. The first of which being that white supremacists, who so vehemently hate black culture, fetishize the words of a brown-skinned Jewish man as the "law of the land". The second of which being the fact that in todays society, southern states, which are generally associated with rampant racism and hatred of black culture, search for ebony and interracial porn at a far higher rate than the rest of the country.

Hate in the name of love

Sin ain't a sin if the pen pushes them vs. us

From under the ship to behind the truck

Behind the truck to the back of the bus

Now we makin' it?

Or going back where we was?

Progress is a long road

So buckle up

The treatment of African-Americans in this country could easily be viewed as a sin. That is, unless the laws of the US condone it, and until not that recently in terms of our country's history, they very much did. Quelle outlines a brief history of how the rights of African-Americans have progressed in the US, ending with a question. Have we made it? Have we reached a point where African-Americans are considered equal? Or have we regressed? Either way, buckle up, because progress is a long road.

This is easily the best verse I've heard this year. Not only is it unbelievably witty and well-written, but it's delivered with such ease from Quelle that you might not even pick up what he's talking about on first listen because his flows are so smooth and his rhymes are so tightly packed that you just want to listen to how effortless his raps are.

This song ends with the final iteration of the chorus...

It's the law, it's the law niggas

It's for me, it's for y'all, it's for all of us

For the straight, for the coochie and the ball lickers

It's the law, for the black, for the white, it's for all

...which then brings us back to the Donald Trump quote that initially lead us into the song. This is meant to drive the point home that laws are meant for everyone; except the 1%. If you're part of the 1%, you are more than welcome to threaten murder on national TV; hell, it might even increase your poll numbers. And while historically, the law has been used to oppress people of color, Quelle now realizes that it has moved past just oppressing one race. It's used as a mechanism to hold people in their current social class, and does not apply to people with money. Class is the new race, which is better for the oppressors, because it's not illegal to discriminate against poor people.

GOD (and so will I… why not?)

Religion was touched on lightly in the previous track, the implication being that religion is the basis for the laws that have been so effectively weaponized to discriminate. "Wild Minks" follows in the tracklist, continuing the theme of religion; this time with a much more metaphorical and abstract approach.

The track opens with a lone piano note, and a few simple piano chords following shortly after. A very mellow kick-kick-kick-snare pattern that sounds like it's been sat on eventually breaks into the track. Quelle added a layer of what sounds like vinyl static to the background of this track, making it feel distinctly lo-fi compared to the rest of the album, which sounds tightly polished and clean. Maybe this is due to the Mach-Hommy feature, whose vocals are consistently muddy and mixed down, even in his own music. Either way, this lo-fi hissing does detract from the verses spit on this song, making appreciating the subtle concept even more difficult. From a sonic standpoint, I'd say this is the low-point for the album. However this sonic shortcoming is more than made up for from a lyrical perspective. "Wild Minks" is, without question, the most complicated and abstract concept approached on this record. I'm going to do my best to break it down for you here, but I urge you to read the lyrics a few times before you read my explanation. A big part of what makes this concept so unique is the perspective from which Quelle writes his verse; blending true aspects of biblical scripture with absurdism, and using that as a metaphor for today's society.

Quelle's verse here starts out referencing Matthew 3:4, referring to John's shirt of camel's hair and his leather belt as "Wild Minks". He then lays down an intricate and descriptive verse about John The Baptist and how he lived; detailing his affinity for substances, his desire for lavish compensation, his expansive housing, his high quality furs, his expensive diet, and how he's considered to be cultured and refined by his friend group due to these things.

Wait, back up. John The Baptist wasn't materialistic, was he? He's considered a Saint in the Christian faith. How could someone who enjoyed such a lavish lifestyle be a literal Saint? As it turns out, very little Quelle details in his verse here is true about how John The Baptist lived. So why fabricate this detailed verse about his lifestyle? What am I missing here?

Quelle ends his verse with the perfect summation of the subtle metaphor outlined in this track:

Johnny boy wore wild minks, and so will I

Why not?

Chris uses the "wild minks" that John The Baptist wore as a metaphor to illustrate how religious scriptures can be easily lost in translation, and misinterpreted in ways that are far, even polar opposite, from their original intention.

If John The Baptist wore wild minks, what's so wrong about me wanting to do the same? He was a Saint, after all. First off, a shirt made of camel hair isn't exactly comparable to a "wild mink". Even if that's what it was referring to, during the time he was alive, the fact that he was wearing a wild mink implies that he was living in harsh conditions; he likely hunted those animals in order to stay warm and survive. However, in today's society, a wild mink coat is considered a lavish and expensive luxury. Viewing this scripture from a strictly surface level perspective might allow one to interpret that living a materialistic lifestyle is condoned by the Bible.

His lyrics here reflect the absurdity of what it would have been like if John was to live with lavishness, with delicate complexity, such as:

Feasting on meats that was bled from the throat

Lambs and goats

Wiping the grease from said treats on the sleeves of his coats

Matthew 3:4 literally states that John's diet consisted of locusts and honey. Quelle outlines the habits of today's ultra-wealthy and re-appropriates them into the context of John The Baptist; making you realize the true absurdity of the way the 1% lives today, a lifestyle that has strayed quite far from what their "God" would condone.

Quelle's verse here very subtly summarizes how scripture can be intentionally misinterpreted for personal gain and selfishness, expressed using extremely complicated and deeply coated metaphors, all of which sound buttery and smooth flowing from Chris, thanks in part to his complex rhyme schemes. This is undoubtedly the most subtle concept in the whole album. No joke, it took me a full week of dissecting these lyrics and studying John The Baptist to piece this metaphor together.

P.S. Fuck you and your shitty DMCA takedown requests Mach-Hommy!

YOURSELF (i par up bar for bar, pa)

While the first half of this album beautifully details the many ways in which our society is designed to hold people back, the second half of this album is about how we can combat it. As individuals, we don't have the luxury of being able to design our country to benefit the few. We must operate inside the system we've been born into, and Chris is aware that the most powerful weapon we have to fight back against a corrupt system is our own success. This is what "Box of Wheaties" represents.

As some of you might already know, Quelle Chris recently changed the beat on "Box of Wheaties", presumably due to sample clearance issues. When I discovered this, I went to check his Twitter to see if he mentioned anything about it, and the very first thing I saw was this series of tweets that Quelle had recently pinned. He basically goes off on hating the streaming service industry, and how we are just borrowing music from Big Brother.

Really the most essential thing to take away from this, is that buying music is arguably more important than ever. By exclusively streaming music, you don't own any of it. It can be taken away in an instant by any number of frivolous lawsuits artists are slapped with on a regular basis. But, if you buy a physical copy of an album, no one can take it away from you.

I'm extremely lucky to have had the foresight to download the album to my phone, which has not yet been changed. However, one day when the data is corrupted, I will have no option but to re-download the tracks, and I will lose the OG version of "Box of Wheaties". BUT, I have the album on vinyl. And although it was pressed with an illegal sample, there is no court that can take away my vinyl. I have that version forever now.

Initially, I wondered if I should have my review reflect the original version, or the updated version that new listeners would experience. However, it's clear from his tweets, this new beat is not what he envisioned or wanted for this album. He put out the version with this sample for a reason. My review will be reflective of the original version.

The beat on "Box of Wheaties" (originally) samples Les Hurdle - You've Got What It Takes, taking the smooth guitar melody and jazzy drums, pitching them down, and looping it to fit into the slow groove of 88 BPMs that "Box of Wheaties" so comfortably rests at.

Chris opens this track with a super catchy chorus, featuring a flurry of internal rhymes and the smoothest delivery you can imagine, listing reasons as to why he thinks you should find his face on a box of Wheaties, a place historically reserved for "Champions".

Chris has been grinding in his profession for a long time. He's been making music for well over a decade; at this point in his career, he's 15 albums deep. If you had paid attention, he believes you would find his work is worthy of a spot on a Wheaties Box.

Now, if Wheaties were to start including artists (musicians, writers, actors, etc.) on their prestigious boxes, would Quelle qualify? Based on his overall discography quality at this point, I would say no. In my opinion, he has three albums that are worthy of true praise and accolades, all of which came out within the last 3 years. But that's not what Chris is alluding to with this metaphor. His point here is, being confident enough to believe that he deserves the Wheaties Box spot is a major factor in manifesting that reality.

The way Quelle delivers this hook with absolute confidence in his ability, even mentioning that his raps are good enough to "par up bar for bar, pa" with any rapper in the game today, is an attitude that society could benefit from. Put in the work and know that the accolades will follow. This is exactly what happened with Chris' work. After grinding for 10+ years, he finally began getting noticed in 2017 with Being You Is Great. Everything's Fine was named bandcamp's AOTY in 2018, and he has what I consider to be the best album of 2019 with Guns. But it starts with knowing that you belong there. Your thoughts manifest your reality. Put in the work and know it will come, and it will.

SLEEVELESS MINKS (smoke em if you got em)

If "Wild Minks" represents the many ways that the elite live to excess, "PSA Drugfest 2003" represents the limited ways that the 99% live in excess. Since most of us don't have money to blow on lavish clothing, cars, or homes, we're forced to find ways to cope with the stresses of living in this near-dystopian wasteland, and there is nothing more cost-effective at doing so than drugs.

Acting as the follow up to his song "Drugfest TooThousandToo" from his 2015 album Innocent Country, Chris takes the concept previously explored and amplifies the message. In "TooThousandToo", he utilizes a crowds' reaction to his mentioning of certain drugs as the litmus test for what drugs are good and what drugs are bad, eventually concluding that weed and mushrooms are the favorites from the crowd. In 2003, Chris has evolved his opinion, throwing caution to the wind with his drug choices. This is made clear right off the bat with his opening line.

This town ain't the right size for you and I

Six million ways to fly, who's tryna die?

Chris is rapping from the perspective of the average American, looking for ways to cope with the insane stresses that the elite have forced us to live with. He isn't looking to be picky with his high, he just wants it to distract him. He starts with the spliff, but quickly graduates to harder drugs as the weed and nicotine high "got lame"; moving up the drug intensity scale as our drug tolerance increases and our social and economic injustice tolerance decreases.

When that shit got lame, we spiced up the game

Brought out the blades and lined up cocaine

Prefer it off white, but albinos, okay

To balance out the jump, we rolled it up Js

Making one last bible reference in the chorus here, he relates the American people to the sinners of Sodom and Gamorrah, implying that we would rather be dead than to continue to live in the wasteland that we currently exist within. And let me tell you, in a certain sense, he's not wrong.

LOVE THY NEIGHBOR (trust me tho i seen it)

The track "Sunday Mass" is sandwiched between Drugfest and "Straight Shot". This short, one verse song, delivered by Bilal Salaam, is essentially a laundry list of mass shootings from the past few years. Bilal refers to the Pulse nightclub shooting, the Las Vegas massacre, and the Texas shooting that occurred in a Baptist church, amongst others. This is used to set up the concept of the following track.

"Straight Shot" is a representation of a couple things. One, it outlines some of the hopelessness that many of us experience due to the long-term impact of the many weapons that society has pointed at us, be they literal or figurative. We get to watch our neighbors be executed by mad-men with guns on TV on a semi-regular basis, and then walk outside to a world that is literally designed to oppress you and make you complacent. It's not difficult to see how the combination of horrors we are subjected to regularly can make people feel like there's no point in being here. I know for a fact that I've experienced it, and I'm positive plenty of you have as well. Two, it's a reminder for people who are feeling this way that there are reasons to stick around.

Featuring a verse from Brooklyn native Cavalier, "Straight Shot" is easily one of the most gorgeous and well composed songs on this record. Melancholy piano keys and a single bass note opens the track, followed shortly by Quelle singing the incredibly soulful chorus. He seems to be on the brink of crying, with his voice cracking as he sings along. A skeletal drum kit comes in after the first iteration, followed by a choir of voices singing the bassline melody, before the full drum kit kicks off Quelle's verse.

Chris opens the track with a verse that's very light, describing himself seeing the good in the world. He paints a picture of himself enjoying life; making the music he loves, laughing at his past pain, and stopping to sniff the flowers. He recognizes that he's preaching to the choir, as his fanbase are generally people who might be aware of the issues he's been outlining during the past 35 minutes.

Cavalier follows the chorus with a verse that paints a diametric view of the world. He describes his time on "this pitiful stone" as a Sisyphus Stroll, and his desire to leave it all behind. However, Quelle's perspective in the previous verse has brought him back from the brink. Using absolutely gorgeous imagery to describe his misery, and his eventual conclusion that there are reasons to continue on; Cavalier realizes that the powers that be are the ones making him doubt his worth, and if there's one thing he loves, it's an underdog story, and standing against the ruling class in today's society is about as big of an underdog that you can be.

EAT THE RICH (i'm tryna burn this bitch down)

The lead single for Guns, "Obamacare" features this absolutely haunting, choppy synth lead pounding away until a short piano melody erupts into the enormously heavy, and honestly sinister beat drop. On the surface, "Obamacare" seems like a simple flex track, with Quelle laying down ultra-confident bars, painting a picture of other rappers being terrified to take Chris on. However, watching the music video, you begin to realize the secondary meaning that he's attempting to outline; anarchy.

Quelle's hook game has been massively improved, even from his last few records, with the catchy chorus starting off with lyrics that any anarchist would be proud to chant in the streets.

I'm tryna burn this bitch down, I ain't tryna break in

Fuck your opinion 'bout us, to me don't mean nathan

I brought the wave, brought the rain, brought the lake in

Eyes on the cake and yours is for the takin', wait man

Lyrically painting a picture of a society that is sick of being oppressed by the ruling class and is finally ready to rise up, Chris' anarchist nature is made very clear in the music video. The chorus features a robber burning down a building and making off with a comically sized money bag, while a cop, in an ironic twist of fate, is stuck behind bars, as well as a literal lake of blood rising while pieces of cake, depicted as boats, float around the blood lake.

If you were look at this from a surface level perspective, you would likely see a flex track, as Quelle's second verse particularly comes off as "look at how much better I'm doing than you". But watching the video, it becomes clear that he's rapping from the perspective of the 1%. We see Chris and his "friends" sitting around a table, playing cards, while his verse details some of the privileges the 1% live with; being able to gamble money away while people in the lower classes would significantly notice a few more dollars in the paychecks. Their neighbors are high ranking pharmaceutical industry members with access to any drug they can imagine, vacationing together in southern beach houses, eating steak and eggs until gout forms. These lavish lifestyles are bound to anger the lower classes, who are literally starving. Hence the chorus' overt "eat the rich" themes.

ROMANTIC LOVE & LEGACY (and when i win, we win)

Following "Obamacare" as a much needed positive note(s) to end the record on, the album's love song, which features Quelle's wife Jean Grae on the refrain, might seem a bit out of place on this album at first glance. However if you've made it this far into the review, you can likely conclude that Chris is making the point that finding the right person allows both of you to muddle through this hellscape known as our society with a bit more ease. You hold each other up in times of darkness, and celebrate big in times of light. One person's victory becomes our victory. Quelle and Jean married in mid 2018, and if you were looking for a compelling reason to keep going on "Straight Shot", Quelle is letting you know his with "You, Me, & Nobody Else".

Finally, we are brought to the closer "WYRM". This track shows Quelle ruminating over the idea of his legacy, and how he will be remembered when he's gone with absolutely gorgeous lyrical expertise, particularly in his first verse. He's aware that most people who are born into this world are forgotten sooner than later, and the only way to be truly remembered is if you have a worthwhile legacy. Calling back themes previously mentioned throughout the album, he feels like he's done enough to be remembered, but don't we all?

Will you remember me?

Am I just a moment for few to see?

Another black face rapping nigga on a cash chase?

Dozen for a dime, penny for your mind at one time?

Chris is aware of the saturation of rappers in the game now and worries that his legacy will be downplayed and forgotten due to the direction he took his art in. Rappers who are making music just for the money are a dime a dozen lately, and he's concerned that his legacy will be tarnished due to those who aren't in it for the right reasons.

Overview

This is by far Quelle's best album to date, in my opinion. Guns does an unbelievably gorgeous job identifying the many ways our society has been oppressed into submission, while simultaneously summarizing how we can rise above the few and be better people for it with intricate detail. Chris' lyrics are sharper and more layered than they've ever been, and the self-produced beats are beautiful beyond words. Guns is not only a milestone for Quelle Chris' career, as this is by far the most cohesive and conceptually brilliant piece of work he's ever released, but it also represents a breaking point in our society, as well as the framework for how we can better ourselves and the people around us on the long road ahead. Quelle has nailed every aspect of this project, stringing these 13 tracks together into a album that is far greater than the sum of its parts.

9.2/10

Favorite Lyrics

Talking Points

  • How does this album compare to the rest of Quelle's discography?

  • Do you think I'm reaching with some of the points I made during this review?

  • What are your favorite lyrics?

  • How do you think this album will be looked back on in 5 years?

submitted by /u/jordanbeff
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Daily Discussion Thread 01/02/2020

Posted: 02 Jan 2020 05:11 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, 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:

submitted by /u/ModsLittleHelper
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DaBaby just got arrested

Posted: 02 Jan 2020 02:34 PM PST

French Montana Caught Using Fake Streams With Hacked Spotify Accounts

Posted: 02 Jan 2020 08:27 PM PST

"Writing on the Wall" w/ Cardi & Post flopped on arrival in 2019, and now its suddenly gaining and heading for top 20 on Spotify.

Twitter Thread:

https://twitter.com/karlamagne/status/1212770395729870849

​

french montana's out here buying streams in a desperate attempt to turn his 3 months old flop song into a hit

https://i.imgur.com/IHOxFEo.png

​

the song was released on sept 27, 2019 and it wasn't very successful despite having two popular rappers featured on it. it charted for 5 weeks & left the top 200 on spotify, then re-entered 3 weeks later & even reached a new peak on spotify US today & this is where it gets weird

https://i.imgur.com/bBIaJVE.png

https://i.imgur.com/2dnKjfj.png

https://i.imgur.com/PPivGdr.png

https://i.imgur.com/GzJ3wid.jpg

​

apparently the reason why it's charting again is because it's currently popular on tiktok...then why is it only rising on spotify? i mean when you look at the pics the difference between spotify and apple music is astounding. #21 (+27) on spotify #1192 (-105) on apple music???

https://i.imgur.com/UAkjHLM.png

https://i.imgur.com/k4MahFs.png

​

so i decided to search on twitter to see if anyone was actually listening to the song since its popular on tiktok and i found some very interesting tweets of people saying their spotify was hacked and it was playing...french montana.

https://i.imgur.com/TvaqpAg.png

​

look carefully at the dates most of those tweets were sent, between 18-25 december 2019. now look at the date "writing on the wall" re-entered spotify US. december 22. y'all see where i'm going with this?

https://i.imgur.com/ezoE5G0.png

https://i.imgur.com/3D3yfvp.png

​

in conclusion its really easy to get a hit song nowadays, all you need is a fraudulent label who's willing to spend money on you. so if you see writing on the wall by french montana in the top 10 on billboard next month don't forget to come back to this thread. that's all for now

https://i.imgur.com/Ew9Rfby.png

​

t's more than clear that french montana's label is buying streams and trying to make it seem like the song is rising on its own because it's popular on tiktok

https://i.imgur.com/W5YC3py.png

​

People on twitter claiming Spotify account being hacked

https://i.imgur.com/bpfdUnY.png

https://i.imgur.com/Tt2kaNu.png

https://i.imgur.com/je4XsaM.png

submitted by /u/Hayday12designacct
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Coachella 2020 Full Lineup (Rage Against The Machine, Frank Ocean & Travis Scott Confirmed Headlining)

Posted: 02 Jan 2020 07:14 PM PST

Mick Jenkins new album “The Circus” coming January 10

Posted: 02 Jan 2020 09:00 PM PST

Tracklist:

  1. Same Ol
  2. Carefree
  3. The Light (feat. EARTHGANG)
  4. Flaunt
  5. The Fit
  6. I'm Convinced
  7. Different Scales

Source:

submitted by /u/jzglt
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2Pac Talks About Sex Life With Madonna While Dating Her

Posted: 02 Jan 2020 08:41 AM PST

[SHOTS FIRED] FRENCH MONTANA SHARES PHOTO OF 50 CENT KISSING A MAN

Posted: 02 Jan 2020 09:13 PM PST

I have so many questions....

Is this photoshopped?

What year is this?

Are those lips actually locked or just very close to each other? Maybe it's a whisper?

Tell me...do you think this very entertaining feud between French Montana & 50 Cent gone to far? Weigh in below.

(https://www.instagram.com/p/B62E489JMHg/?igshid=16wxplcpibjba)

submitted by /u/derrick_obscure
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Future ft. André 3000 - Benz Friendz (Whatchutola)

Posted: 02 Jan 2020 06:50 AM PST

[FRESH] Mick Jenkins - Carefree

Posted: 02 Jan 2020 09:01 PM PST

Album That Had A Ton Of Hype And Ended Up Disappointing?

Posted: 02 Jan 2020 12:06 PM PST

Views is my pick, Drake just came off of WATTBA with Future and IYRTITL the year before literally everyone was hyped for this release, and when it dropped it was absolutely terrible.

submitted by /u/Mixxrr2k
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[FRESH ALBUM] Westside Gunn - Flyest Nigga in Charge Vol. 1

Posted: 02 Jan 2020 09:06 PM PST

Apple Music

Tidal

Can't find it on my spotify yet.

submitted by /u/DaveHolden
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Weaver Beats - Hourglass (ft Paradigm) (2020)

Posted: 02 Jan 2020 05:20 PM PST

The Genius Decade: The Biggest Producer Every Year Of The 2010s

Posted: 02 Jan 2020 06:08 AM PST

[FRESH] Your Old Droog - Crab Cakes feat. Prodigy of Mobb Deep

Posted: 02 Jan 2020 02:55 PM PST

Man shot while driving on Highway 509 identified as aspiring hip-hop artist Tanaa Money

Posted: 02 Jan 2020 12:17 PM PST

Young Thug ft. Travis Scott - Me or Us (vinyl exclusive)

Posted: 02 Jan 2020 03:07 PM PST

Lexii Alijai Dead: Rapper Dies at Age 21

Posted: 02 Jan 2020 12:17 AM PST

[DISCUSSION] Jay-Z - Vol. 3... Life and Times of S. Carter (20 years later)

Posted: 02 Jan 2020 08:57 AM PST

Vol. 3... Life and Times of S. Carter is the fourth studio album by American rapper Jay-Z. It was released on December 28, 1999, by Roc-A-Fella Records and Def Jam Recordings. According to USA Today critic Steve Jones, the record marked a return to the street-oriented sound of Jay-Z's 1996 debut album, Reasonable Doubt.[1] Vol. 3... featured production from Swizz Beatz, Timbaland, K-Rob, DJ Clue, Rockwilder, DJ Premier, and Irv Gotti, among others.

The album was well received by critics and debuted at number one on the Billboard 200, selling 462,000 copies in its first week. It has since sold over three million copies and been certified triple platinum by the Recording Industry Association of America.

submitted by /u/TheRoyalGodfrey
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Oj Da Juiceman feat. Gucci mane - Make The Trap Say Aye

Posted: 02 Jan 2020 07:51 AM PST

Lil Wayne - Rich As Fuck ft. 2 Chainz

Posted: 02 Jan 2020 10:48 AM PST

Royce Da 5'9 - God Speed (feat. Ashley Sorrell)

Posted: 02 Jan 2020 12:47 PM PST

[FRESH EP] Famous Dex - DEXTER 2031

Posted: 02 Jan 2020 05:16 PM PST

[FRESH] Moneybagg Yo & Lil Baby - U Played

Posted: 02 Jan 2020 09:00 PM PST

Benny The Butcher - Scarface Vs. Sosa Pt. 2 (prod. by Daringer)

Posted: 02 Jan 2020 03:23 PM PST

[FRESH] Quando Rondo (feat. A Boogie, 2Chainz) - Bad Vibe

Posted: 02 Jan 2020 09:04 PM PST
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