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New Music Friday: November 27th, 2020 - HipHop

New Music Friday: November 27th, 2020 - HipHop

New Music Friday: November 27th, 2020

Posted: 27 Nov 2020 08:30 AM PST

Albums

Juicy J - The Hustle Continues (featuring A$AP Rocky, Lil Baby, 2 Chainz, Wiz Khalifa, Conway the Machine, Key Glock, Logic x 2, NLE Choppa, Megan Thee Stallion, Ty Dolla $ign Jay Rock & Project Pat)
Statik Selektah - The Balancing Act (featuring Black Thought, Nas, Joey Bada$$ x 2, Gary Clark Jr., Conway the Machine, 2 Chainz, Killer Mike, Allan Kingdom, Dave East, Method Man, Jack Harlow, Jadakiss, Styles P, Termanology, Benny the Butcher, Paul Wall, Rome Streetz, Fly Anakin, Marlon Craft, Kota the Friend, Evidence, Blu, Lil Fame, Smoke DZA, Sean Price, Nick Grant, CJ Fly, Bun B, Havoc, Bobby Sessions + more)
Lil Yachty - Lil Boat 3.5 (featuring Vince Staples, Playboi Carti, Oliver Tree, Future + more)
Foogiano - Gutta Baby (featuring DaBaby, Lil Baby, Gucci Mane, Jacquees, Tay Keith + more)
TrippJones, SpaceGhostPurrp & Loko Los - Gladiator Season, Vol. 2
Bad Bunny - EL ÚLTIMO TOUR DEL MUNDO
Flee Lord - No More Humble Fashion (featuring Westside Gunn, T.F., Conway the Machine, G4 Jag & Zaza God)
Rylo Rodriguez - G.I.H.F. (featuring Moneybagg Yo, Lil Baby, 42 Dugg, Jackboy & Yo Gotti)
Da$h - Beta
Sabrina Claudio - Christmas Blues (featuring The Weeknd & Alicia Keys)
LE$ - Dios, Vol. 1
AJ Tracey - Secure the Bag! 2 (featuring slowthai + more)
Keenon Rush - Long Live the Keeng
Chavo & Pi'erre Bourne - Chavo's World
KrispyLife Kidd - KrispyLife the Mixtape Part 2 (featuring Icewear Vezzo, Rio da Young God, Boat + more)
Slatt Zy - East Lake Projects
Twiztid - Revelashen
Jahari Massamba Unit (Madlib & Karriem Riggins) - Pardon My French
Stunna 4 Vegas - Welcome To 4 Vegas (featuring DaBaby, Ola Runt, Murda Beatz & Toosii)
Rav - I'm On To Me
J Stalin - The Price of Fame
Lil Quill - It Could Be Worse
Mickey Factz - Warped Collages

Deluxe

French Montana - CB5
Jim Jones - El Capo (featuring Fred the Godson, Dave East, Maino, Vado, Juelz Santana + more)
Curren$y - Bonus Footage (featuring Conway the Machine, Cordae, Boldy James & Gunplay)
Busta Rhymes - Extinction Level Event 2 (featuring M.O.P., Fllipmode Squad + more)
Shoreline Mafia - Mafia Bidness

EPs

Gotts Street Park - Volume Two
Pamela D. Bruner (Thundercat's mom) - Masters of the Universe (featuring Thundercat & his family)
Azizi Gibson - Stay The pHuck Out My Bubble
Elcamino & 38 Spesh - Sacred Psalms
Seddy Hendrinx - Sayless (featuring G Herbo, jetsonmade, Jack Harlow, Gunna, Quando Rondo, A Boogie Wit Da Hoodie & 24hrs)
Blay Vision - Pain
Tinashe - Comfort & Joy
ROMderful - Ice Cream Clones
Hardo - TRAPN FEVER 2 (featuring Sada Baby + more)
Fetty Wap and DC Young Fly - Fly & Fetty
Sway Dasafo - Be A Champion

Singles

Quando Rondo - End Of Story
SAINt JHN - Smack DVD (feat. Kanye West)
Tobe Nwigwe & Big K.R.I.T. - BOZOS
Kembe X, Ab-Soul & ICECOLDBISHOP - Back At It
Young Scooter & Zaytoven - Dope Boys & Trap Gods (feat 2 Chainz & Rick Ross)
D Double E & Skepta - Don
Fivio Foreign - Trust
42 Dugg - Free Me
Chip - Daily Duppy
Problem Child 5 - Da Tooly (feat. Young Thug)
Working on Dying - The Madness (feat. Zack Fox & Father)
AKTHESAVIOR - Ups & Downs (feat. Chuck Strangers, Erick Arc Elliot & Issa Gold)
Drakeo the Ruler - Betchua Freestyle
Mach-Hommy - THBLKGD
Sir Michael Rocks - Home Improvement
22Gz - Fallen Blixkys
The Game - A.I. with the Braids (feat. Lil Wayne)
Chuck Inglish - Driver (feat. Ye Ali)
Cordae - The Parables
TOOK HER TO THE O (FREESTYLE)
Saba - So and So / Areyoudown? Pt. 2 (feat. tobi lou)
OMB Bloodbath, Aaron May & jetsonmade - My Dad's Fault
Jonatanleandoer96 (Yung Lean) - Snake Ice
Teejayx6 - Xbox Series X & PlayStation 5 (Crime Pays 2)
Black Thought - American Heartbreak (feat. Ledisi)
Che Noir - Cruise Control (feat. The Musalini)
Ransom & Planet Asia - Superior Linen
NoCap - Free Draco
Snoop Dogg - Doggy Dogg Christmas
YBN Nahmir - Opp Stoppa
Lost Kings - Oops (I'm Sorry) [feat. Ty Dolla $ign & GASHI]
Maino - Catch a Vibe (feat. French Montana & KG Picasso)
Bebe Rexha & Doja Cat - Baby, I'm Jealous (Natti Natasha Remix)
Dear Silas - Groceries
Charlie Heat - Before I Die (feat. FIFTEENAFTER)
TOKYO'S REVENGE - nothinglastsforever
Riff Raff, T-Pain & DJ Paul - Say What You Want (feat. La Chat)
Youngs Teflon & Dave - Rule of Two
Mark Battles - Try (feat. Cozz & Keara Alyse)
Ocean Wisdom - Drilly Rucksack
Ola Runt - Thanksgiving Massacre
Willie The Kid & V Don - Glass Shoppin (feat. Vado) / Plum Wine
ONEFOUR - HOME & AWAY
LuLu P - Reckless (feat. A$AP ANT & Lil 2 Dow)
Jae Stephens - Already On It (feat. VanJess)
Armani White - Letter from Jail (Freeblanco)
F L A C O - Come in (Wash Your Hands)
Felly - Sunday / Talking to Myself
XV - Bring It Back / Dunk of the Month / Never Die
meltycannon - Paperweight
Bugzy Malone - Don't Cry
Planet Asia & The Musalini - Jack Frost
Joël & Amaal - In Place
JMSN - Christmas Time Is Here
SG Lewis & Lucky Daye - Feed The Fire (A-Trak & The Brothers Macklovitch Remix)
Rahli - Headhunna
KenTheMan - Every 4 Hotboii - No Limit
Young T & Bugsey - New Shape

Features

Young Franco - Fallin' Apart (feat. Denzel Curry & Pell)
Myr Tention - Riverdale to Worldwide (feat. Deante' Hitchcock)
Eddie Zuko & King Lil G - Caile (Terrace Martin Remix)
Rozay the Red Zoe & Yung Bleu - Know Your Worth
BrandTheBuilder - Brewrytown (feat. Lord Jah-Monte Ogbon)
James Unruh - Party (feat. Nef the Pharaoh)
Dj Lucas - Tricky (feat. Wiki)
Elsa Majimbo - Snack Queen (feat. Cautious Clay)
Tray Tray - Caution (feat. DJ Pharris & Gunna)
Lowgo - Are We Cool? (feat. Lou Phelps)
80 Empire - I Keep Calling (feat. Masta Ace & Statik Selektah)
Timi O - Work it out (feat. meltycannon)
Wallie The Sensei - Scandalous (feat. 42 Dugg)
MIGHTY1KSOLD - Ya Heard Me (feat. Jadakiss)
Juveyel - Change (feat. Jadakiss & Tish Tyman)
Raff Pylon - Christmas in California (feat. Snoop Dogg)
TYG CUBA - Yesterday Blues (Remix) [feat. Rylo Rodriguez]
It's 13teen - All the Time (feat. Rylo Rodriguez)
DJ Tab - Still Winnin (feat. Hoodrich Pablo Juan & Fassmoney Sco)
TE dness - Alphabet (feat. Ghetts)
IG - No Rules (feat. Jase & YGTUT)
Eric Notez - NED TO KNOW (feat. Saigon)
Vanessa - Me and My Booty (feat. E-40)
ColdCole - We Everywhere (feat. Kurupt)
Donut Da Legend - Double Back (feat. G Perico)
Izayah Fisher - Everything (feat. Jadakiss)
Dbizz - Do My Dance (feat. Sada Baby)
Foreverboy - See Thru (feat. Ericdoa)
KIRBY - Superpower (feat. D Smoke)

* means not on streaming

project features are listed mostly just if the artist is recognizable

From /u/KHDTX13 (will be updated):

Fresh Singles

Fresh Albums & EPs

submitted by /u/TheRoyalGodfrey
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Daily Discussion Thread 11/27/2020

Posted: 27 Nov 2020 02:23 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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[FRESH MIXTAPE] Lil Wayne — No Ceilings 3

Posted: 27 Nov 2020 06:00 PM PST

DATPIFF ⠀⠀| ⠀⠀YOUTUBE ⠀⠀| ⠀⠀SOUNDCLOUD

TRACKLIST (SIDE A)

  1. V8 Remix of: "We Paid" (Lil Baby, 42Dugg)

  2. BB King Freestyle ft. Drake Prod. by DJ Khaled, Hollywood Cole

  3. Lamar "Takeover" (Jay-Z)

  4. For The Night "For the Night" (Pop Smoke, DaBaby, Lil Baby)

  5. Something Different "Laugh Now Cry Later" (Drake, Lil Durk)

  6. Life Is Good "Life Is Good" (Future, Drake)

  7. Peggy Bundy "Said Sum" (Moneybagg Yo)

  8. Out West ft. Young Thug "OUT WEST" (Jackboys, Travis Scott, Young Thug)

  9. Church ft. HoodyBaby, Euro, Gudda Gudda "Murder On My Mind" (YNW Melly)

  10. Comme des Garçons "DIOR" (Pop Smoke)

  11. Deep End

  12. Drag Em ft. Gudda Gudda "Mood" (24kGoldn, iann dior)

  13. Drive-Bys ft. Vice Versa "Shake The Room" (Pop Smoke, Quavo)

  14. Fl4m3$ ft. Lil Tune "24" (Money Man)

  15. 3 Headed Goat ft. Cory Gunz, YD "3 Headed Goat" (Lil Durk, Lil Baby, Polo G)

  16. Hollywood ft. Young Carter "When U Down" (Lil Tecca, Lil Durk, Polo G)

  17. Kam ft. Young Kam Carter "Sicko Mode" (Travis Scott, Drake)

  18. Kamila ft. Jay Jones "Baby" (Quality Control, Lil Baby, DaBaby)

  19. 2 Diamonds "Bad Bad Bad" (Young Thug)

  20. Afro "No Dribble" (DaBaby)

FULL MIXTAPE (YouTube, 1h01m40s)

submitted by /u/PmMeYourChromebook
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[FRESH] Lil Wayne - BB King Freestyle feat. Drake | No Ceilings 3

Posted: 27 Nov 2020 06:08 PM PST

Denzel Curry shares details regarding his new album "Melt My Eyez, See Your Future"

Posted: 27 Nov 2020 06:12 AM PST

Taken from his Twitter:

Q: What sound is this album gonna have?

A: The sound of the album is different than all my other albums. This album stems from my feelings strictly and producers I've always wanted to work with and who I worked with from the first album

Q: Is it written or freestyled?

A: It was written

Q: Can you give us any hints; how many tracks, features?

A: Features... only singers and one rapper that's it

Q: Main inspirations for this particular album?

A: My inspiration came from a combination of what's going on right now in the world and Akira Kurosawa films with Toshiro Mifune

Q: Is it gonna have like TV show or movie samples often like an MF Doom album?

A: Not often but I can say one track has a Fist of the Northstar sample

Q: Will the new project be a strictly rap album or will it include some rock, grunge or other styles you've been experimenting with?

A: You going have to wait you'll see

Q: Will you get something other than an 8?

A: I don't care at this point long as I got y'all I'm straight

That's all we have for now. He also answered a bunch of other questions unrelated to the album on his Twitter in case you're interested.

submitted by /u/zatifiend
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[SHOTS FIRED] Young Thug Shuts Down André 3000 Collab on T.I.'s Podcast

Posted: 27 Nov 2020 09:51 AM PST

Lil Yachty’s ‘Lil Boat 3.5’ Is A Second Helping Of First-Hand Embarrassment - Deluxe Album Review

Posted: 27 Nov 2020 06:58 PM PST

Unambitious intentions can often be the root cause of the downfall of some of music's most promising acts. The likes of many promising prospects have suffered from this downward spiraling trajectory, as more than a few are guilty of fizzling out due to avoiding the mantra, shoot for the moon. A particularly alarming instance of this complacency has effectively acted like the thorn in the flesh of Lil Yachty. Establishing himself by being the first out of the gates, Yachety would act as the torchbearer and epitome of a cultural movement that would inevitably follow. I found his sheer exuberance and cartoonish quirk to be a breath of fresh air, and a hopeful teaser to whet my appetite of what was to come. Unfortunately, the sands of time haven't proven as kind as I expected for the crooner, as each release feels as if it only dampens an already flickering light - the only thing left separating Yachty from his faceless copycats.

2020 has been a notorious outlier for major artists, and for good reason, but none of this had any part in what feels like Yachty's hellbent quest to run his career into the ground. Admittedly, I was skeptical heading into 'Lil Boat 3', and my perception wasn't changed during the aftermath. Being the weakest installment of what feels like the last shimmer of hope for Yachty's career, I was dreading what was to come, and just 6 months after, we have it's logical follow up 'Lil Boat 3.5'. Unfortunately, it comes far too soon after an absolute trainwreck, as I truly fail to justify a deluxe as it essentially acts as a second helping of all the same issues there were rife on 'Lil Boat 3', conveniently packaged as even more playlist fodder. If At the end of it all, I'm simply left questioning who on earth asked for this?

We pick up right where we were left, as the opening track of 'Lil Boat 3.5', 'Lil Diamond Boy', feels just as unfinished and half-baked as a number of tracks off of the original material. Having had my expectations permanently lowered by Yachty's sheer inconsistencies, he really goes the extra mile, and ventures into uncharted territories of woeful, to make me notice just how hideous his inflections here are. It's not as if the production brings anything salvageable to the table, as it all just feels so vapid and generic. Between its bog-standard hi-hats, and synth passages that sound as if they were sourced from a free "Lil Yachty Type Beat" pack off the internet, it's got me feeling déjà vu.

Things don't fare a whole lot better when Yachty, who is in desperate need of assistance, finally has his cries for help answered. We have the show-stopping trio of Yachty, Future, and Playboi Carti on 'Flex Up'. It's a Lil Yachty track in the same way the sky is green, as you might not even recognise his presence given just how deviously he melts into this clusterfuck. Sure, Future and Carti are bouncing off the walls with this electrifying energy, but I get the idea that the track would have benefitted from staying in the vault given how rough around the edges it is. Filled with all this pointless ad-libbing, and without a distinct hook, it feels like it wanders aimlessly, existing only to secure a star-studded commercial cross-over.

Though career-defining, and, when used correctly, his greatest asset, it feels like Yachty oversteps a fair few boundaries vocally on 'Charmin''. In saying this, he certainly isn't alone in this absolutely criminal display of auditory mistreatment, as featured artist Cochise, acts as his accomplice as these partners in crime work in tandem to gnaw away at my sanity. It's all just so overbearing as the two come off as subhuman and mutagenic without any complimentary purpose.

If 'Lil Boat 3' was the audio equivalent of opening Pandora's box, then 'Lil Boat 3.5' is opening it, and being conscious of what horrors are to follow. Let's not kid ourselves. Both myself, Yachty, and surely at this point in his career, his fans, are all painfully aware he doesn't have the substance to entertain such bloated tracklists. So, naturally, it's shocking to see the presence of the teaser 'Coffin', make the final cut. It's a worryingly short track that feels like it ends before it ever truly starts. With its mind-numbingly tedious bass, one of Yachty's most uninteresting and unenthused performances to date, and a particularly gross twist on the idea of 'murdering the pussy', it feels like a recipe for disaster.

Yet another 1 minute and change throwaway is 'Certified'. Built upon a spine of these ugly 8-bit glitchy synths that have been abusively mixed way out of proportion, it becomes borderline impossible to identify any other elements of the arrangement. Thankfully, we aren't missing much, as a nauseatingly dull Yachty is trapped beneath the gushing passages. I'm constantly left feeling dumbfounded and left to clutch at straws here. It feels like Yachty himself struggles to stomach the creation of such low-effort and lazy tracks, which in turn, only leaves me to wonder what exactly Yachty thought we would gain from such substanceless tracks.

A large portion of these additions just feel redundant, as almost nothing here feels like a necessary addition to an already bloated listen. I get the idea that Yachty thinks he comes off a lot more cut-throat and stone-cold than he actually does on 'Just How I'm Feelin''. Sure, he checks the stylistic tick boxes with the eerie, ominous synths, but I'm not exactly sitting and marveling at the production as it gets stale real quick. Having Yachty hang his hat on the idea of Lil Baby plastering the vapid holes left on the track is among the last things I wanted from 'Just How I'm Feelin', and in practice, it's even more dysfunctional than you might think given just how forgettable the song is.

Thankfully, no matter how scarce they may be, there is the odd, and I say this comparatively so take it with a pinch of salt, 'highlight', that interrupts my experience with 'Lil Boat 3.5' that is otherwise comparable to leading a dog's life. During a point in his career where it feels like he is content coasting by doing the bare minimum, we catch a glimpse of the Lil Yachty of old on the infectious 'In My Stussy's'. Though not exactly anything to write home about, the track features Yachty's slickest and stickiest refrains on 'Lil Boat 3.5'. The real delight, however, stems from the exuberant synths that sound as if they were plucked straight from a Super Mario soundtrack, and a stand out performance from the magnetic Vince Staples, who comes across as a real breath of fresh air and point of contrast that I'm otherwise entirely starved of.

Yachty is again pulled by the scruff of his neck across the finish line on the track 'Asshole'. With it's splintering, emotionally potent chorus from Oliver Tree, an appearance that even in hindsight strikes me as bizarrely unfathomable, Yachty is given all the right tools to make it work, only to have his contribution consist of this tiresome awkward bumbling. I find it ironic that on the track where Tree and Yachty are concerned about their mistreatment and the toxicity from an unassigned 'asshole', I'm left classifying Yachty as the exact same, as it feels like he does everything in his power to make his boldest decision a hideous Jekyll and Hyde situation.

It's not as if these issues are solely relevant to 'Lil Boat 3.5', or even 'Lil Boat 3', as it seems that with each release, Yachty's identity feels less and less relevant to the original blueprint that made him such an exciting and outlandish figure. For those who managed to miraculously see 'Lil Boat 3' as anything but a redundant sucker-punch, 'Lil Boat 3.5' effectively acts as the nail in the coffin that only further demonstrates Yachty's fall from grace. I'd call each and every addition a B side, but unfortunately, 'Lil Boat 3.5' is worryingly similar in quality to the tracks that made 'Lil Boat 3'. I simply struggle to even begin to understand the appeal or need for a deluxe as at this point, it feels like Yachty is beating a dead horse. It's all far too similar, and equally as unremarkable of the bulk of the Yachty discography, as 'Lil Boat 3.5' acts as a constant reminder of the crooner's soul-sucking downfall.

submitted by /u/RedHeadReviews
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[FRESH] Lil Wayne - Out West ft. Young Thug

Posted: 27 Nov 2020 06:10 PM PST

Drake calls for Grammys to be replaced after The Weeknd is snubbed

Posted: 27 Nov 2020 01:00 AM PST

BTS' "BE" sells 246K First Week (181K Pure). Megan Thee Stallion's "Good News" sells 103K (13K). Jeezy's "The Recession 2" sells 28K (5K). SAINt JHN's "While The World Is Burning" sells 21K (3K). DaBaby's "My Brother's Keeper" sells 20K (1K). + YoungBoy & Rich The Kid/Meek Mill/French Montana inside

Posted: 27 Nov 2020 08:59 PM PST

Rank Artist Album Label Pure Sales Sales + Streaming
1 Juice WRLD Legends Never Die Grade A/Interscope 210,343 497,000
2 The Weeknd After Hours XO/Republic 275,000 444,000
3 Lil Uzi Vert Eternal Atake Generation Now/Atlantic 9,666 288,000
4 Eminem Music To Be Murdered By Shady/Aftermath/Interscope 117,000 279,000
5 Pop Smoke Shoot For The Stars Aim For The Moon Victor Victor/Republic 59,000 251,000
6 BTS BE BigHit/Columbia 180,581 246,002
7 Drake Dark Lane Demo Tapes OVO/Republic 19,000 223,000
8 Logic No Pressure Def Jam 172,000 221,000
9 Lil Baby My Turn Quality Control/Motown/Capitol 10,000 197,000
10 Bad Bunny YHLQMDLG Rimas 35,000 179,000
11 21 Savage & Metro Boomin SAVAGE MODE II Boominati/Republic/Slaughter Gang/Epic 22,000 171,000
12 Mac Miller Circles Warner 61,000 164,000
13 Future High Off Life Freebandz/Epic 15,822 153,000
14 Jhene Aiko Chilombo Def Jam 38,000 152,000
15 Lil Wayne Funeral Young Money/Republic 38,000 139,000
16 NAV Good Intentions XO/Republic 73,000 135,000
17 Lil Uzi Vert LUV vs. The World 2 Generation Now/Atlantic 5,000 130,000
18 Machine Gun Kelly Tickets To My Downfall Bad Boy/Interscope 63,000 126,000
19 YoungBoy Never Broke Again Top Never Broke Again/Atlantic 19,000 126,000
20 DaBaby BLAME IT ON BABY Interscope 12,000 124,000
21 Gunna WUNNA Young Stoner Life 4,093 111,000
22 A Boogie wit da Hoodie Artist 2.0 Atlantic 3,052 111,000
23 BLACKPINK THE ALBUM Interscope 81,000 110,000
24 Future & Lil Uzi Vert Pluto x Baby Pluto Freebandz/Epic/Generation Now/Atlantic 4,254 105,597
25 Big Sean Detroit 2 G.O.O.D./Def Jam 30,000 103,000
26 Megan Thee Stallion Good News Atlantic 12,866 102,646
27 Polo G THE GOAT Columbia 14,539 99,000
28 Joji Nectar 88Rising/12Tone 41,913 92,000
29 YoungBoy Never Broke Again Still Flexin, Still Steppin Never Broke Again/Atlantic 3,551 91,000
30 Kehlani It Was Good Until It Wasn't TSNMI/Atlantic 25,000 83,000
31 Rod Wave Pray 4 Love Alamo/Geffen/Interscope 2,332 72,000
32 YoungBoy Never Broke Again 38 Baby 2 Never Broke Again/Atlantic 3,994 67,000
33 Moneybagg Yo Time Served N-Less/Interscope 7,000 66,000
34 Young Dolph Rich Slave Paper Route/Empire 33,000 65,000
35 YG My Life 4Hunnid Def Jam 47,000 64,000
36 Tory Lanez The New Toronto 3 Mad Love/Interscope 5,524 64,000
37 Russ SHAKE THE SNOW GLOBE Columbia 39,815 63,000
38 Alicia Keys ALICIA RCA 51,000 62,000
39 Trippie Redd Pegasus TenThousand/Caroline 4,655 61,349
40 G Herbo PTSD Machine/Epic 4,000 59,000
41 Bryson Tiller A N N I V E R S A R Y RCA 4,240 57,000
42 Lil Durk Just Cause Y'all Waited 2 Alamo/Geffen/Interscope 3,107 55,957
43 6ix9ine TattleTales 6ix9ine/Create Music Group 32,000 53,000
44 PARTYNEXTDOOR PARTYMOBILE OVO/Warner 3,061 52,237
45 Nas King's Disease Mass Appeal 19,021 47,788
46 Ty Dolla $ign Featuring Ty Dolla $ign Atlantic 4,430 44,943
47 Don Toliver Heaven Or Hell Cactus Jack/Atlantic 1,990 44,356
48 Nav Emergency Tsunami XO/Republic 7,614 44,147
49 Megan Thee Stallion Suga Atlantic 4,279 41,000
50 The Kid Laroi F*CK LOVE Columbia 6,796 40,000
51 Bad Bunny LAS QUE NO IBAN A SALIR Rimas 7,931 39,828
52 Anuel AA Emmanuel Real Hasta La Muerte 3,560 39,233
53 Joyner Lucas ADHD Twenty Nine Music 10,144 38,400
54 Busta Rhymes Busta Rhymes Extinction Level Event 2: The Wrath of God Conglomerate/Empire 16,960
55 Agust D D-2 BigHit 15,115 37,753
56 Moneybagg Yo & Blac Youngsta Code Red N-Less/Interscope 1,532 37,408
57 Tory Lanez DAYSTAR One Umbrella/Create 2,102 37,010
58 Lil Tecca Virgo World Galactic/Republic 3,633 35,379
59 Yo Gotti Untrapped Epic/CMG 7,000 35,000
60 Run The Jewels RTJ4 BMG 31,065 34,609
61 Lil Yachty Lil Boat 3 Quality Control/Motown/Capitol 3,722 34,164
62 Pop Smoke Meet The Woo 2 Victor Victor/Republic 3,280 34,077
63 Queen Naija missunderstood Capitol 9,629 32,869
64 Dreamville Revenge Of The Dreamers III: Director's Cut Dreamville/Roc Nation/Interscope 1,647 32,828
65 NLE Choppa Top Shotta Warner 2,433 32,769
66 Internet Money B4 The Storm Internet Money/TenThousand 766 32,168
67 Jay Electronica A Written Testimony Roc Nation 10,842 31,703
68 Freddie Gibbs Alfredo ESGN/ALC/Empire 20,524 31,290
69 Teyana Taylor The Album G.O.O.D./Def Jam 4,250 31,088
70 Summer Walker Life On Earth - EP LVRN/Interscope 3,526 30,327
71 YoungBoy Never Broke Again Until I Return Never Broke Again/Atlantic 580 29,637
72 6LACK 6pc Hot EP LVRN/Interscope 8,082 28,951
73 Jeezy The Recession 2 Def Jam 4,651 28,367
74 Key Glock Yellow Tape Paper Route/Empire 782 28,290
75 2 Chainz So Help Me God! Def Jam 2,244 27,305
76 Jessie Reyez BEFORE LOVE CAME TO KILL US N/A 14,979 26,430
77 John Legend Bigger Love Columbia 12,552 26,199
78 Toosii Poetic Pain South Coast 3,072 26,151
79 Amine Limbo Republic 7,350 25,711
80 Brandy B7 EOne 15,607 25,636
81 Childish Gambino 3.15.20 Wolf+Rothstein/RCA 5,584 25,273
82 J Balvin Colores UMLE 3,800 25,059
83 King Von Welcome to O'Block Only The Family/Empire 709 24,568
84 Trey Songz Back Home Atlantic 4,438 23,537
85 T.I. The L.I.B.R.A. Grand Hustle/Empire 3,745 23,339
86 blackbear everything means nothing Alamo/Interscope 5,916 23,160
87 Various Artists Birds of Prey: The Album Atlantic 9,454 22,352
88 Brent Faiyaz Fuck The World Lost Kids 711 22,088
89 Stunna 4 Vegas Rich Youngin Interscope 559 21,967
90 Shoreline Mafia Mafia Bidness Atlantic 1,142 21,324
91 SAINt JHN While The World Is Burning HitCo 2,670 20,809
92 Quando Rondo QPac Warner 352 20,348
93 Ozuna ENOC Aura 1,696 20,208
94 DaBaby My Brother's Keeper (Long Live G) SCMG/Interscope 1,003 19,938
95 Jadakiss Ignatius Ruff Ryders/Def Jam 6,329 19,927
96 $uicideBoy$ STOP STARING AT THE SHADOWS G59 1,302 19,092
97 DVSN A Muse In Her Feelings OVO/Warner 2,349 19,081
98 Benny The Butcher Burden of Proof Griselda/Empire 4,226 18,724
99 YoungBoy Never Broke Again & Rich The Kid Nobody Safe Rich Forever/Empire 520 18,846
100 Tee Grizzley The Smartest Tee Grizzley 1,800 18,845
101 Gucci Mane Gucci Mane Presents: So Icy Summer Guwop/Atlantic 1,055 18,773
102 Rich The Kid BOSS MAN Rich The Kid/Atlantic 420 18,512
103 City Girls City On Lock Quality Control/Motown/Capitol 1,994 18,461
104 Meek Mill QUARANTINE PACK MMG/Atlantic 1,689 18,147
105 Lil Tjay State of Emergency Columbia 1,611 17,101
106 French Montana CB5 Empire 9,194 16,985
107 Dave East Karma 3 Mass Appeal/Def Jam 2,613 16,798
108 Kiana Ledé KIKI Republic 5,070 16,533
109 Key Glock Son Of A Gun Paper Route/Empire 713 16,128
110 Dominic Fike What Could Possibly Go Wrong Columbia 4,349 16,102
111 Kodak Black Bill Israel Atlantic 375 15,929
112 JayDaYoungan Baby23 Atlantic 197 15,899
113 NoCap Steel Human 2020 135 15,795
114 Lil Keed Trapped On Cleveland 3 Young Stoner Life 190 15,978
115 Gorillaz Song Machine, Season One: Strange Timez Parlophone 8,976 15,602
116 Maluma PAPI JUANCHO Sony Music Latin 1,005 15,376
117 Sleepy Hallow Sleepy Hallow Presents: Sleepy For President Winner's Circle/Empire 225 15,266
118 Mozzy Beyond Bulletproof Mozzy/Empire 2,594 15,212
119 Jack Harlow Sweet Action Generation Now/Atlantic 704 15,140
120 K. Michelle All Monsters Are Human EONE 9,438 14,734
121 K CAMP Kiss 5 Family Ties/Interscope 693 14,631
122 JoJo good to know Warner 9,609 14,606
123 Jaden CTV3: Cool Tape Vol. 3 MSFTS/Roc Nation 2,693 14,563
124 Disclosure Energy Island 5,820 14,455
125 August Alsina The Product III: stateofEMERGEncy Shake The World/Empire 5,369 14,416
126 Mulatto Queen of Da Souf Streamcut/RCA 616 14,311
127 Burna Boy Twice As Tall Bad Habit/On A Spaceship/Atlantic 1,699 13,632
128 Alina Baraz It Was Divine Mom+Pop 2,294 13,557
129 Joyner Lucas Evolution Twenty Nine Music 2,762 12,641

Top 10 First Weeks of 2020 Across All Genres

Rank Artist Album Label Pure Sales Sales + Streaming
1 Taylor Swift folklore Republic 615,000 846,000
2 Juice WRLD Legends Never Die Grade A/Interscope 210,343 497,000
3 The Weeknd After Hours XO/Republic 275,000 444,000
4 BTS MAP OF THE SOUL: 7 BigHit/Columbia 347,000 422,000
5 Lil Uzi Vert Eternal Atake Generation Now/Atlantic 9,666 288,000
6 Eminem Music To Be Murdered By Shady/Aftermath/Interscope 117,000 279,000
7 Lady Gaga Chromatica Interscope 206,515 275,904
8 Pop Smoke Shoot For The Stars Aim For The Moon Victor Victor/Republic 59,000 251,000
9 BTS BE BigHit/Columbia 180,581 246,002
10 Halsey Manic Capitol 180,000 239,000

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: 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: Aren't those numbers kind of low for Childish Gambino?

A: Childish Gambino's "3.15.20" officially released on a Sunday, a week after it was premiered on his website, this caused him to lose out on two days of sales as well as losing some interest due to the delayed release.

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

A: 2019 list, 2018 list, 2017 list, 2016 list

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at

Daily Discussion Thread 11/26/2020 - HipHop

Daily Discussion Thread 11/26/2020 - HipHop

Daily Discussion Thread 11/26/2020

Posted: 26 Nov 2020 06:38 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

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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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Throwback Write-Up #27: Portishead - Dummy

Posted: 26 Nov 2020 04:07 AM PST

Artist: Portishead

Album: Dummy

Release Date: 22 August 1994

Listen: Apple Music

Spotify

Youtube

I must first thank u/chaotic_gold for giving me the motivation to do a write-up on Dummy by posting his terrific write-up of Tricky's Maxinquaye, which (due to its being a trip-hop album from Bristol) is a sister-album to Dummy in many ways. It is very well written, and is a fantastic insight into Tricky as an artist which likewise gives a terrific insight into the genre as a whole. Check out his post here.

It was my mum that introduced Portishead to me, accompanied by stories of her attending their concert in our relatively quiet town in 1998, after the release of their second, self-titled record Portishead. I quickly fell in love with the sounds of Glory Box and Biscuit, and it was in my later years in which I began to listen to hip-hop that I came to recognise the beauty of this album past just the angelic voice of mysterious front-woman Beth Gibbons. I have, since then, been incredibly disappointed that Portishead and the bands fellow trip-hop artists (a title each relevant band hates, might I add), has had such little place in the current discussion of hip-hop and its history. It is my intention here not to discuss at length the history of the band or trip hop, but instead to discuss the album and its roots in and influence on hip-hop and rap.

Portishead's Dummy is undoubtedly the best of both worlds; production efforts firmly rooted in hip-hop, dub, and electronic tradition, whilst the sorrow of Beth Gibbons over the so consistent and evident sounds of the album elevates its soundscape to a level far greater than it is given credit for. A tear-jerking, comedown album of the ages, Portishead's Dummy is the magnifying glass zooming so close on the bleak and depressive side of the 1990s, where in your bedroom you felt so alone but so in touch with the cinematic and lush sounds of the 1994 masterpiece.

​

The Wild Bunch

Ok, so maybe the heading is a little bit disingenuous - none of the three recurring members of Portishead were ever members of Bristol's godfather of Trip-Hop, The Wild Bunch - but it is certainly fitting to describe the greater Bristol scene as such. It was The Wild Bunch (consisting of what would become Massive Attack, Tricky, and others) that laid the foundations of and built upon the sound that grew out of the small English town of Bristol 1980s that would later become 'Trip-Hop' in just the next decade. It is important to understand that it was in the 1980s that the English underground music scene underwent drastic changes; the introduction of American Hip-Hop to English ears became quickly intertwined with the massive presence of English break-beat, house music, Jamaican dub, electronic, ambient, reggae, funk, and maybe most importantly in Portishead's case, Jazz. It was growing multiculturalism in Bristol in the 1980s and '90s that turned the small city into a melting pot of music, and Portishead is symbolic most of the influences of Jazz and Hip-Hop on the scene. It is true that, released in 1994, Dummy was the metaphorical comedown of Trip-Hop's big decade, and it sonically fits the description.

It is, as described very fittingly by u/chaotic_gold, the 'Holy Trinity of Trip-Hop' in Massive Attack, Tricky, and Portishead, that were the most notable products of Bristol's musical genesis during the '80s and '90s, and later in this post I will recommend records by each of these artists. I mention these artists out of simple love and admiration for the genre however, as if the story of Dummy has to be told in the context of Massive Attack and of their sometime collaborator Tricky, it's equally obvious that Portishead were on the opposite side of Bristol's coin; a lonely and soulful depiction of the claustrophobic and noirish inner city or the warmth and dimly lit and cigarette smoke filled bedrooms of cold Britain, a far cry from the block parties and basement raves of The Wild Bunch and it's alumni.

​

Sour Times

It was Conservative Prime-Minister Margaret Thatchers 'Enterprise Allowance' that we can thank for the creation of what was initially the two person band, Portishead. A 19 year old, long haired Geoff Barrow would meet then 26 year old Beth Gibbons in the line of an induction meeting for the government scheme, and would hit it off when asked by the instructor what they wanted to do with the £40 per week that was given to unemployed people who set up their own business. Beth had told the group that she was a singer with intentions of starting her own label, and it was Barrow who approached her about singing for him after he had spent the early months of 1990 auditioning singers of whom he was never happy with. They would quickly begin making music together, meeting Adrian Utley in 1991, who only became an official 'member' of Portishead after Dummy's release, though he was by all accounts just as involved in Dummy as Gibbons and Barrow. Utley recalled his first introduction to the duo as a then 34 year old bored jazz guitarist finishing up a recording session in a downstairs room below: "I remember somebody opening the door upstairs and me hearing It Could Be Sweet [one of the first tracks written for Dummy]. I was all, 'Fuck me, what is that?' Just hearing the sub-bass and Beth's voice – it was unbelievable. Like a whole new world that was really exciting and vital."

Geoff Barrow had spent the earlier 4 years of his teenage years falling in love with hip-hop and sampling while attending youth club funk nights in rural Somerset in the Eighties, whilst also acting as a junior tape-op for Massive Attack on their debut Blue Lines.

Gibbons was, and still is, a mysterious figure. The 26 year old had grown up on a farm, and as Barrow later said, had "probably done more singing in her bedroom than on stage". I will say little about her singing ability now, for it will be spoken to at length in just a few moments.

Finally, Adrian Utley had moved from the even smaller town of Portishead (which would later be the source of inspiration for the groups name), playing jazz guitar in Big John Patton's touring band and Art Blakey's Jazz Messengers. A lover and collector of noir and sci-fi films of the 1950s, 1960s, and 1970s and of hip-hop, Utley and Barrow would watch films and attempt to replicate the use of instruments such as theremins and cimbaloms, whilst also teaching each other to sample and produce tracks with reference to American hip-hop acts such as The Pharcyde, and English break-beat.

These periods were not, however, the sour times in which the heading refers to, and are instead those that lead to them. The recording process of Dummy was a strange one; the band never gigged, instead hulling up in Neneh Cherry's kitchen recording their first songs together. When the working relationship between Cherry and Barrow brokedown in 1991, Barrows mental state followed suit, forcing Portishead to move to Coach House Studios despite the bands sonic differences to the bands that were also recording in the building. The impact of the Gulf War, the pressure of his work with Portishead, and the newly 'frat'-like atmosphere of the Dummy recording sessions at Coach House Studios was making the album-making process difficult. Though told out of humour many years later, Barrow described Bristol as being largely at fault for his and the bands compromised mental state; 'The only place to eat was Iceland or this horrible pub called Granny's where your beans and chips would arrive with Granny's thumb in it.'. The lush, devastating soundscapes of Dummy rose from that bleakness, and would likewise inform later works.

​

Dummy

Dummy is, in all ways, truly devastating. The title of the record, inspired by the 1977 TV Drama of the same name in which a blind and deaf woman's life descends into prostitution and degradation, does not describe the sound of the record; every sound, every instrument, and every word spoken, is deliberate or deliberately random. The album is filled with the sounds of eerie loneliness, using cinema soundtracks and jazz and classical orchestras to inform the drums loops and scratching of Geoff Barrows, the Bond-like and jazz inspired guitar licks of Adrian Utley, and the extraordinary, harrowing lyrics written and sung by Beth Gibbons. It is in this sense that Dummy is so incredibly deliberate - the spy-movie and sci-fi guitar riffs, the hip-hop and break-beat inspired drumming, the countless, velvet-like organ and string sections, and the pleading and totally raw voice of Gibbons present on all tracks all maintain complete obedience to the mood in which Portishead are so relentless in establishing. Dummy is to the night what Blue Lines is to day; The foggy, cold, lonely walk in moonlit Bristol; the disgusting, tiled and moldy bathroom of the inner-city club you stumbled across; the narcotised walk home; the cigarette; the welcoming and warm bed. The 2 producers found themselves sampling and breaking up their own tracks, feeding back into their samplers and pressing their 'finished' products onto vinyl in order to allow for further manipulation, just as a hip-hop producer would. It was these seemingly random acts (such as physically walking on their newly pressed records) that gave Dummy the filmic, noirish air in which the voice of Beth Gibbons soars. Akin to Billie Holiday in many respects, Gibbons' breathy and desperate vocals transform the jazzy, hip-hop inspired beats into massive, devastatingly heartbreaking lullabies and stylish and charismatic soundscapes. It is undeniable that, despite Barrow's fresh take on 1960s and '70s soundtracks, strings and organ arrangements, and scratching, sampling and looping, and Utley's infectious jazz-influenced guitar and bass playing, it is Beth Gibbons that elevates Dummy to such a level that won it a Mercury Prize just a year after its release. That is not to undermine the beautiful cohesion of Utley and Barrow, though, both of whom manage to create 11 individual but perfectly cohesive songs despite the heavy use of varying samples and a wide range of instruments. It is their production that is so heavily inspired by hip-hop and jazz that informs the luscious, sexy, but lonely soundtrack to the 1990s. The unsettling and lonely crooning of Gibbons is so beautifully supported by the so intensely different beats of Utley and Barrow, but yet not once do they feel at odds. Though I generally avoid Pitchfork when it comes to hip-hop, their review of this album is very good: 'For 50 minutes, the album sustains a single, all-enveloping mood; its track list is a 10-sided die where every roll comes up some variation of despair.', writes Philip Sherburne.

Mysterons

Dummy opens with the aptly named Mysterons; named after the Martian villains of the 1966 television show Captain Scarlet and the Mysterons, the theremin present so early in the track and the so intensely Bond-like guitar riffs of Utley compliment looped snare rolls and one of Gibbons more confrontational performances on the album.

'All for nothing / Did you really want?'

Sour Times

Based around a looping, extended sample of Lalo Schifrin's music for Mission: Impossible, Sour Times is undeniably cut from the same cloth as Mysterons. Cinematic in its use of sampling with a bouncy drum loop and droning, metallic rattling sounds, Gibbons gives maybe her most confident performance on the recond, bouncing over the drum loop, singing in the songs hook: 'Cause nobody loves me, It's true, Not like you do.'. Those of you who like Black Thought will recognise the drum loop on this song from his very recent track Thought vs. Everybody, which samples Sour Times.

Strangers

It is on the third track, Strangers, in which the soundscape of Dummy begins to expand; that isn't to say it lacks the features of the two (the spy-film like guitar present throughout the track says otherwise), however the use of a buzzing guitar and abrasive drum pattern is reminiscent of an old train moving over equally as old train tracks, with the sweet breakdown that appears momentarily later in the track providing a break from the beat to reminisce on the words of Gibbons, who sings in what was a home-recorded demo that made it onto the record: 'Did you realize, no one can ever see inside your view / Did you realize, for why this sight belongs to you'.

It Could Be Sweet

Little can be said about It Could Be Sweet that would accurately convey its charm; Beth Gibbons, a thumping sub-base, scattered samples, and keys to fill it all in is simply magic. Gibbons croons 'Cause I don't wanna lose / What we had last time, your leaving / This life ain't fair / You don't get something for nothing, turn back / Gotta try a little harder / It could be sweet'. The ultimate head-bobber, and a night-time drive song up there with the albums final song, Glory Box, It Could Be Sweet uses its minimalism to charm.

Wandering Star

The heavy hitting, lumbering bass and cymbal pattern of Wandering Star, accompanied only by Barrow's scratching and a regularly beating synth, are more akin to those present on many 80's Rakim and Eric B records; Gibbons turns a head-bobber into a lullaby, singing: 'Please, could you stay a while to share my grief / It's such a lovely day to have to always feel this way', and 'the darkness, the blackness, forever.' If you needed further proof of the impact of hip-hop production on trip-hop and its Holy Trinity, look no further than Wandering Star.

"'Wandering Star' kind of needed a solo, so I just kind of scratched the start of Magic Mountain. I wasn't really ever a scratch DJ, as such, but I was always madly into DJ Premier. You don't need loads of notes to make it sound cool, and that's what Premier did with his scratching. He didn't have to do anything. It was an incredible technique, but still it would just be so cool. He's the most soulful scratch DJ there's ever been.", said Barrow.

It's a Fire

Written entirely by Beth Gibbons and brought to Utley and Barrow as essentially a gift, the voice of the album sings 'Cause this life is a farce / I can't breathe through this mask / Like a fool / So breathe on, little sister, breathe on'. The singer is so incredibly personal on It's a Fire, and is clear as day in her singing. Assisted sparsely by a drum loop and a stunning organ, Gibbons' breathy, open letter, is elevated into her very own Church song - her voice bouncing from mahogany wall to mahogany wall.

Numb

An ode to despair and hopelessness, Beth Gibbons breaks out of her shell on Numb, crooning 'I'm ever so lost / can't find my way / Been searching, but I have never seen / A turning, a turning from deceit', and 'but this loneliness / It just won't leave me alone / oh no'. The latter of the two lines being immediately followed by Utley's quiet bass playing, and Barrows' scratching over a slowed sample of Ray Charles I've Got a Woman.

Roads

I really cannot stress enough when I say that Roads is undoubtedly Beth Gibbons' masterpiece. One of the most heartbreaking songs ever put to tape, Roads opens with a gut-wrenching, wailing guitar riff and a punchy snare loop, with Beth wailing 'How can it feel this wrong? / From this moment / How can it feel this wrong?'. Growing more and more desperate, Gibbons sings: 'I got nobody on my side / and surely that ain't right / surely that ain't right' atop a luscious and drifting string section and bass solo later in the track. The string section on Roads, similar to those in Glory Box, are unspeakably gorgeous, and by the end of the song Beth is so close to the mic that you can hear her breathe in for more air, just to plead to the listener once more; a common theme on the album, present also on It's a Fire.

Pedestal

A much needed respite from the despair of Roads, Pedestal picks things up once again. With constantly present basslines, a subtly supporting synth, and the usual looped drum pattern, Barrow is given time to scratch to his heart's content in the periods between Gibbon's sphinxlike vocals and the trumpet solo in the middle of the song.

Biscuit

A beat one can hear MF DOOM or Earl Sweatshirt rapping over, Biscuit sounds like death; it is the final high of the album before the ultimate comedown, with violent drums that penetrate the truly grimy Rhodes and guitar never ceasing to thump. A drum loop that feels like a gunshot to the chest (and a snare drum that certainly sounds like it), Gibbons' raw and quivering singing of lines like 'I can't make myself heard / No matter how hard I scream, oh, sensation / Sin, slave of sensation' breaks you down, giving way to Geoff Barrows masterpiece: scratched into the song and slowed down to 16 RPM, Johnnie Ray's sweet '50s refrain of 'I'll never fall in love again / It's all over now' and what was a once cheerful trumpet opening becomes the final bow tie on a drowning, hopeless package.

'At last, relief / A mother's son has left me sheer'

Glory Box

Glory Box snakes its way into your ears; smooth as butter and haunting in its use of Isaac Hayes' Ike's Rap II, the final song of Portishead's debut is luscious in every sense of the word. The song's string section is a gorgeous support pillar for the sultry bass-line and drum loop, with Gibbons' pleading 'Give me a reason to love you / Give me a reason to be a woman / I just wanna be a woman' maintaining Glory Box as one of the ultimate comedown songs of all time. Utley's searing guitar solo and wailing guitar riffs throughout the song are amazing, and Barrow creates out of a such a full and velvet-like songs, a sparse and grimy breakdown just before the songs climax, with Beth Gibbons' finishing the album not with a bang, but with 'I'm so tired of playing / Playing with this bow and arrow / Gonna give my heart away / Leave it to the other girls to play / For I've been a temptress too long / Just / Give me a reason to love you.''

​

Hip-Hop, and Portishead's Legacy

It is sadly true that, at least in the public eye, history has not been kind to Dummy. What is a masterpiece of one of the most unique subgenres in modern music is now often seen as coffee table music or music that is best only for the bedroom. Having said that, however, the rap game has been far more complimentary of Portishead than the mainstream. Aesop Rock rapped over 4 Portishead beats in a collaboration with J Kingz in the January 1, 2006 mixtape Aesop Rock Meets Portishead.

Kanye West credited Portishead and their live album which heavily featured an orchestra with being the primary influence for the orchestral horns present on his records, stating 'So after I won those Grammys (awards)... I ran and got a string section… Hip-hop never had strings that lush with drums that hard but Portishead had that, and they sounded hip-hop, and people vibed to that.". West would release his own live album, Late Orchestration, after releasing Late Registration.

The impact of Portishead on Top Dawg Entertainment is notable also: Roads is present on Kendrick Lamar's playlist The Making of 'good kid m.A.A.d city' and has been credited by the artist as being a great inspiration for Lamar, Prescription and Raymond 1969 by ScHoolboy Q sample Undenied and Cowboy respectively, both from the bands self-titled sophomore album, and Ab-Soul named a song after the band on his 2016 album Do What Thou Wilt., stating in his Dec. 2016 Hot 97 interview that he had "sampled so much of their stuff early on before I even really knew it was them".

In reference to Portishead as one of his favourite songwriters, Vince Staples said "Sometimes music gives you a kneejerk reaction. You hear it and it makes you feel a certain way. That was one of those things; I hadn't heard anything like it. I feel like the songwriting was very honest and also had a lot of depth. But music was never something I thought long about when I was a kid. It was just in the background of my life. My parents listened to gospel music and that wasn't my thing."

I will try not to post every time any Portishead song has been sampled, though the range of artists that have so evidently been influenced by the group, such as Raekwon, Three 6 Mafia, Canibus, ScHoolboy Q, and Aesop Rock, and the countless artists such as Slowthai, Vince Staples and Kanye West who have spoken on their love for the group and for Dummy are just some examples of the truly unspeakable influence of Dummy, Portishead, and Trip-Hop on the greater hip-hop canon.

​

More!

Portishead - Portishead

Portishead's sophomore effort, Portishead is the band at their most confident. Gibbons' singing is still the same, but with an air of confidence seldom heard on Dummy. Utley and Barrow, with more money and greater confidence, begin to make and use their own samples, making their own creations the centerpiece of the record's sound. My favourites on this record are Western Eyes, Undenied, All Mine, Cowboys, Over, and Only You (shouts out the Roseland version of this track also, another example of Barrow scratching).

Portishead - Roseland NYC Live

Special shoutout to this album's version of Sour Times - it is, in my opinion, leagues better than the original, and oh my god is the scratching amazing. In fact, the scratching is phenomenal throughout the album, as are the orchestras. God, the orchestras are amazing. Check this one out for sure.

Beth Gibbons and Rustin Man - Out of Season

Beth Gibbons' 'solo record', Out of Season is absolutely beautiful. A far move away from Portishead's Trip-Hop, Out of Season consists of stunning acoustic guitars, grand orchestras, choirs, jazz drumming like no other, and Gibbons channeling Billie Holiday in songs such as Romance. Songs like Sand River are softly sung, beautiful lullabies, whilst songs like Spider Monkey and Funny Time of Year have grand instrumentals, contrasting Gibbons' unwavering, breathy singing. There is a reason Out of Season's cover so closely resembles Bob Dylan's Blood on the Tracks, for her singing on the album cannot help but remind one of Dylan.

Massive Attack - Blue Lines

Massive Attack - Mezzanine

Tricky - Maxinquaye

Again, u/chaotic_good 's write-up on the project.

DJ Shadow - Entroducing…..

Or,

FactMag's The 50 Best Trip-Hop Albums of All Time list is really good, and has a lot of great albums on it.

​

Discussion

  1. Have you heard of trip-hop as a whole, and/or Portishead in particular before? If not, do you feel compelled to explore some more?
  2. What are your favorite songs on the album?
  3. What are you favourite moments on the album?
  4. Do you hear the influence of this album in other people's work? What are some examples in other genres?
  5. What would you like to hear from Portishead?
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TRACKLIST:

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Tracklist

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