#funky lil rapper dude | Explore Tumblr Posts and Blogs

deadcactuswalking · 6 years

Text

BLAST TO THE PAST: 1st July 2001

Hello again and welcome to BLAST TO THE PAST, where we review UK Top 40 charts from decades ago to see what was happening all the way back then. We’re taking a break from the 1980s and zooming past in lightspeed to 2001, specifically the week of 1st-7th July, as Summer had started to kick in. This chart in particular has some classics and some notable events, which we’ll get into right now.

Top 10

Okay, so first, we have a debut – yep, that’s right, it’s not just intense streaming that lands songs at #1 immediately, there were songs that were big enough to sell just that many copies to get to the top at their first week. At number-one, we have “The Way to Your Love” by megastars Hear’Say, who were pretty damn big in the UK, this being their second chart-topping single. Oh, yeah, and they were created by an ITV reality show, because, I mean, of course they were! They’re a British pop group from the 2000s.

Sadly, we don’t see the rise, yet we see the fall of classic cover “Lady Marmalade”, by the all-star cast of Christina Aguilera, P!nk, Lil Kim and Mýa, from the Moulin Rouge! soundtrack, down one spot to number-two.

We have another top five debut, and not the last top 10 debut, with Usher’s “U Remind Me” starting its chart run at number-three.

At number-four, dropping two places from last week, we have “Angel” by Shaggy featuring Rayvon.

Number-five is home to two-spot-dropper “There You’ll Be” by country singer Faith Hill, from the Pearl Harbor soundtrack.

At number-six, we have the debut of Gorillaz’ “19-2000” featuring uncredited vocals from Miho Hatori as well as founding Talking Heads members Tina Weymouth and Chris Frantz.

“All I Want” by Alesha Dixon-fronted R&B girl group Mis-Teeq has dropped three spaces to its current spot at number-seven.

Do any of you remember Brandy? Because I sure don’t. Apparently she was huge, but I remember her feature on a Kanye track from Late Registration and that’s pretty much it. It’s somewhat strange that she collaborated with Ray “Hey-Fab-I’mma-kill you” J of all people, but—Wait a second! They’re siblings? And Ray J is Snoop Dogg’s cousin? Wow, he really had connections, huh? Anyway, Brandy and Ray J’s cover of Phil Collins’ “Another Day in Paradise” is down three spots to number-eight.

“Another Lover” by another-rando Dane Bowers debuts at number-nine. If you’re wondering who this Dane fellow is, he was in a boyband called Another Level then he was on “Celebrity” Big Brother. In fact, I don’t think I know who this dude is, and I see no reason to find out.

“Do You Really Like It” by DJ Pied Piper and the Masters of Ceremonies finished off the top 10 with a four-space drop back to the final spot in the ten most popular songs of the country as of July 1st, 2001.

Climbers

Let me tell you now – there weren’t many at all. In fact, other than the number-one, there weren’t any songs climbing the charts, rather a whole lot of new entries and a whole lot of fallers.

Fallers

Where do we start?

“Daydream in Blue” by electronica duo (sharing their name with a Teenage Mutant Ninja Turtles episode) I Monster is down 11 spots to #40, “It’s Over Now” by Diddy’s favourite R&B group 112 is down 17 spots to #39 and “Best Friends” by pop group allSTARS* is down eight spots to #38, who had a show on CITV in 2001, and appeared on the Scooby-Doo soundtrack the same year, so I’m assuming they were for kids by kids.

“Close to You” by Wet Wet Wet singer Marti Pellow is down 16 to #37, “No More (Baby I’ma Do it Right)” by three (forgettable) little women known as 3LW is down 10 to #36, “Digital Love” by the best robots in music Daft Punk is down 11 spots to #35, “Out of Reach” by soul singer Gabrielle is down seven spots to #34, “Sing” by alternative rock band Travis is down 10 spots to #33, “Ride wit Me” by Kelly Rowland’s former crush Nelly featuring rapper City Spud is down six spots to #31, “It’s Raining Men” by ex-Spice Girl Geri Halliwell is down 10 to #30, the classic “Papercut” by nu-metal band Linkin Park is down 15 to #29, 1980’s hit “Electric Avenue” by Eddy Grant is here for some reason, but it’s down nine to #28... seriously, why is this here? Apparently it had a “ringbang remix” which landed it into the top five in 2001. Huh, you learn something new and kind of dumb every day.

“Booo!” by lost-in-time musician Sticky (no, not Sticky Fingaz, this Sticky is some nobody without a Wikipedia page) featuring rapper Ms. Dynamite is down 11 to #27, “Here and Now” by the freaking Steps is down nine to #26, “This Time Around” by house music duo Phats & Small is down 15 from #15 to #25, “Thank You” by Dido – best known for Eminem’s excellent use of it as a sample in “Stan” – is down six spots to #24, “Have a Nice Day” by Britpop band Stereophonics is down eight to #20, as is “We Come 1” by electronica group Faithless at #19 as well as “My Way” by walking punchlines Limp Bizkit at #18. “Don’t Stop Movin’” by S Club 7 is down five to #14, as is “All Rise” by boyband Blue at #13. Wow, that was a lot!

Dropouts

Some data in this section may be inaccurate or non-existent, so bear with me as not all drop-outs will be noted in this section, mostly due to the fact that we don’t know a lot of them and I’m just going by what’s there on the UK Singles Chart’s official website.

There weren’t any returning entries this week, so I figured we’d go straight to the drop-outs that we know of, of which there are quite a few of, like “Cold as Ice” by M.O.P. (the Mash-Out Posse) dropping out from #36, “Heard it All Before” by Sunshine Anderson out from #35, “Rock da Funky Beats” by Public Domain featuring Public Enemy Chuck D out from #33, “Video” by India Arie out from #32, “Free” by Mýa out from #39, “Fiesta” by living trash-bag R. Kelly out from #38, “Never Enough” by Boris Dlugosch and Roisin Murphy out from #40, “Musak” by Trisco out from #28, “Jonathan David” by Belle & Sabastian out from #31, “Voodoo” by Warrior out from #37 and, finally, “Let U Go” by ATB out from #34.

NEW ARRIVALS

Now, let’s just jump right into talking about the ELEVEN new arrivals we have this week. I’ll try and keep it brief.

#32 – “Innocente (Falling in Love)” – Delerium featuring Leigh Nash

So, Delerium is an ambient/electronica group known for their hit song “Silence” featuring Sarah McLachlan and Leigh Nash is the lead singer of rock band Sixpence None the Richer, known for their massive hit “Kiss Me”. They would later go on to record a whole album together six years later in 2007, which I don’t really recommend – it’s kind of boring. Is this song a foreshadowing of what to come?

So I’m not the biggest fan of trance at all but I don’t mind this calmer, peaceful trip-hop-influenced stuff from Delerium, in fact I really love the opening guitar riff and the looming instrumentation (and what seem to be bells) before the steady drum beat kicks in and Leigh Nash starts smoothly singing the first verse, all over the instrumentation like she is the main force rather than a jackhammer beat, which is why a lot of EDM doesn’t click with me. However, this is almost not EDM at all. I mean, it’s kind of danceable electronica but, yeah, this is not trance at all, although the strings are definitely reminiscent and it does slowly pick up pace with some uglier synths like trance often does. I don’t know about this, it really drifts along the line between boring and dreamy, much like a lot of songs from Sixpence None the Richer. Did it have to be six minutes? No, but it doesn’t drag on too much in all its peaceful melancholy. I really don’t know why this was listed as a trance song on Wikipedia? Are they talking about the much longer and much worse Tiesto remix? If so, then why did they not specify? Maybe I’m nitpicking about the Wikipedia page more than I should but this song doesn’t really do much for me. If it had some more pop-rock edge from Leigh Nash, maybe I’d like it more, but as it stands, it’s just really weaksauce.

#23 – “Happy People” – Static Revenger

Ah, great, more EDM – lovely. Static Revenger is a Grammy-winning DJ, mostly known for making house and disco. This song in particular went platinum, so you know it’s going to be good, right? Well, if 6ix9ine’s (Platinum-certified!) “GUMMO” told me anything, it’s that sales don’t mean the art or the artists involved are any good... Maybe I should be more open-minded to dance music, I mean, I like a lot of 1990s house so this can’t be much different. I like the R.E.M. song with pretty much the same name, so it’s not like I’m averted to the concept of... happy people. This can’t be too bad.

Oops! I already kind of hate it and love it at the same time. This guitar riff is great but the synths are too static-y for the most part and the build-up feels too drowned out to really be a good build-up until the jackhammer beat starts coming in before the drop, which is a good climax but not entirely satisfying as the simple, repetitive hook stays exactly the same after the drop – I expected some mix-up? The keys introduced after the first drop are a nice change of pace and I appreciate their inclusion, and this is definitely a really fun, exciting and catchy track, however, I think this is just not my thing. It feels soulless and like a bit of a non-presence, which I guess is good for this type of club track? I don’t know, but I guess I just don’t “get” modern EDM still, even though this is barely modern, being early 2000s and all. Maybe I just don’t get EDM at all. Maybe I should learn to have some fun. Probably that last one. Next.

#22 – “Getting Away with It (All Messed Up)” – James

So, James are an indie rock band who have also dabbled in electronica and more experimental rock, including the artsy album WAH WAH. They’re apparently releasing an album next month, which I’ll definitely check out. This single is from their 2001 album Pleased to Meet You, which received mixed reviews by critics at its initial release. Has this song in particular stood the test of time?

Well, yeah, it has. Not in a way that I can be ecstatic about, as it still is somewhat dreary in its constant simplistic guitar strumming, but once the drum beat kicks in, it gets much more exciting and uses the quiet-loud dynamic well, albeit to a lesser extent than other alternative rock bands, as the main increase in volume is the lead singer’s voice, who croons over the oddly funky bassline and the cheap synths as well as the distorted guitar riffs after the first chorus which, yes, are awesome and are pretty nice as a back-up to synth bleeping and different string patterns that add to how intense and urgent the song seems to be, despite its slower tempo. Oh, yeah, and there’s an insane breakdown or solo before the final chorus, where the synths just freak out and that’s pretty damn cool, and the fact that the last chorus continues with the same instrumental makes the song all the more exciting, as it progresses in intensity just to abruptly end. I’m more of a (similarly-named) Travis fan personally, but this song rocks as well.

#21 – “Million Miles Away” – The Offspring

Remember these guys? I don’t know about everyone else, but I used to love these guys. They were one of my favourite bands, and honestly, probably still are as far as rock is concerned. The Offspring are a Californian rock band fronted by Dexter Holland, who always straddled the lines between alternative, pop punk and straight-up punk rock. They have a UK number-one and many other hits (and damn good deep cuts) in their arsenal, so how does this song in particular, from their album Conspiracy of One, fare?

It starts with a rapid and intense guitar riff that isn’t too heavy but fast enough to keep up with the simplistic, mad-cap drumming, creating an instrumental base for Dexter to moan about his break-up over. While I appreciate the instrumental, it is a tad too simple, as is the hook with the “oh, oh, oh” vocalisations and the singing feeling too whiny at times, especially in that chorus. While I love the instrumental to death, I feel Dexter’s sloppily-mixed vocals being all over it ruin it for me. However, there’s enough time where it’s just the backing and the guitar solo also rocks, so yeah, although I’m not a fan of the repetitive lyrics and delivery here, I can dig what’s behind it. Sadly, this is probably the first and only Offspring I’ll get to talk about – trust me, they’ve made much better stuff. My personal favourite of their singles is “Hit That”, if you want to check that absolute romp of a dance-rock track. They’re also releasing a new album this year, so I’m excited for that.

#16 – “Hard to Explain” – The Strokes

The Strokes don’t really need an explanation, right? One of the biggest American rock bands in recent memory, hailing from New York and bringing back garage rock in a huge way that led them to two top 10 UK hits. This is their first ever single, from their debut album Is This It, annoyingly without a question mark. Maybe XXXTENTACION could have lent them one, he seems to have had an extra one left around. That’s beside the point, let’s get into the breakout single from The Strokes.

It starts with a simple drum beat – possibly not from Fabirizio Moretti but rather from a drum machine - before going into one of the most memorable and slick guitar riffs of all time, thanks to guitarists Albert Hammond and Nick Valensi, with a funky bassline provided by Nikolai Fraiture backing not only the guitars up but also the distorted vocals from Julian Casablancas, with a catchy-as-all-hell hook that leads into an abrupt fake-end, before it picks up again for another exciting few minutes of punkish indie rock, with Casablancas’ vocals getting more strained and emotional throughout. I’m actually finding it pretty hard to describe and review this song fairly without insane hyperbole, as Casablancas says, it is pretty hard to explain, as it is one of my favourite hit songs ever, with its perfectly balanced amount of rowdiness and genuine intrigue, and dare I say, a certain classiness to the composition. Fantastic song, fantastic album, and a damn great band.

#15 – “Baddest Ruffest” – Backyard Dog

This is the 2002 FIFA World Cup song, made by big beat producing duo Backyard Dog, consisting of Aniff Akinola and Lloyd Hanley. To my knowledge, they haven’t done anything else, although Akinola here has rapped on other songs, like the mild success “Bounce ‘n’ Boom” and Kirsty MacColl’s top 40 hit “Walking Down Madison”, so it’s debateable if these guys are one-hit wonders, but if one of the most notable things the lead singer has been in was a Vimto advert, it’s safe to say you’ve probably been forgotten in time since. So, how’s Backyard Dog’s seemingly only ever piece of released music (other than their only studio album and the remix EP for this very song) that is documented on the Internet?

Well, it starts with what are assumingly sampled horns in one simple loop before a subtle but effective bass comes in and Akinola starts shouting, adding some ragga influence, but mostly I’d say this is a pretty simple big beat song, with a solid horn hook and even Akinola’s vocals adding a lot of uniqueness to an otherwise not-very-noteworthy track. Hell, I’d like this a lot more if it weren’t for the annoying chicken-like record scratching that makes up most of the song. As it stands, there’s one element that just tears the whole thing apart, which is unfortunate as this is actually a pretty fun and exciting, different song, and I do wish these guys had more material to listen to, because I’m digging their style. It’s pretty intriguing, even if it is just some big beat loops with Caribbean-tinged vocals being yelled over the track by a charismatic performer, who I’ll try and dig up other projects from. I hope these guys reunite to make some more jams.

#12 – “More than That” – Backstreet Boys

Listen, you know who the Backstreet Boys are. I know who the Backstreet Boys are. I don’t know about you, but I can’t stand them. They’re talented men, sure, but it feels a bit too cheesy and sickly sweet for me to really get into. Does that ring true with “More than That”, from their 2000 album Black & Blue?

Yes, of course it does. Why wouldn’t it? It has a pretty interesting albeit typical Latin or tropical guitar riff, but the vocals from the boys here aren��t too great, and everything that surrounds them just feels like purely perfect pop blandness. It’s too perfect – kind of like “These Days” by Rudimental featuring Jess Glynne, Dan Caplen and Macklemore and “Girls Like You” by Maroon 5 featuring Cardi B, both of which I talked about on REVIEWING THE CHARTS. It’s a good song, definitely, but it feels too manufactured for me to enjoy on repeated listening, as in the end, it is a soulless boyband song. What did you expect, a long, in-depth review that focuses on the vocal range of the boys and how excellently they mesh with the smooth R&B production? No, you’re not getting that, because there are better pop songs and better R&B singers that you could be listening to, even if it’s just the early 2000s. In fact, we’ll be talking about another in just a short while.

#9 – “Another Lover” – Dane

No, this is not who I meant! I meant Usher! I didn’t want this complete nobody to come in! Well, what does Dane have to say?

Nothing. He has nothing to say because he is uninteresting and typical lyrically. That was a dumb question, I don’t think he even wrote this song... but in R&B, it’s more about how you say it, and, damn, does he pull off the smooth, Latin-influenced production well! The Latin riffs are still present in the guitars, and the drums are more prominent than they probably should be, but Dane brings a great presence to the track, even if it doesn’t seem like he can actually sing very well at all, using his falsetto a lot of the time to mixed results, but he is fun and has more charisma than Juice WRLD and Dexter Holland when moaning about issues with a partner. I love the whispering in the penultimate chorus as well, which continues in the outro as some kind of acapella percussion, which I appreciate for its experimentalism if anything. This slick 1990s-resembling production and the man’s charisma make this a great listen, even if it’s not on Spotify and only has 70,000 views on YouTube... Yikes. Now, THIS has been forgotten in time.

#6 – “19-2000” – Gorillaz featuring Miho Hatori and Talking Heads (Tina Weymouth and Chris Frantz)

I love Gorillaz. I’ve been a fan for a long while now, and I have grown to love how they blend genres excellently in accessible and catchy yet still experimental and strange pop songs, while still believing that the flow of an album is definitely important... well, they used to do that. Right now, with Humanz and The Now Now, it seems that they care more about the singular songs, which is fair because of streaming being more important now, but like the Avalanches, the flow of the album is seminal in my enjoyment of a Gorillaz album, and that has not been consistent recently, with bloated, boring albums and messes of songs like “Sex Murder Party” and... “Man Research (Clapper)”... from their self-titled 2001 debut album. Okay, so, maybe they’ve never been too great at the whole “making tight compositions” thing. This song is kind of proving as that chaotic structure not working too well. Let me elaborate.

“19-2000” is about the new millennium, as its title suggests, and follows the trends of the bridge between 1999 and 2000 very carefully, with a sampled trip-hop/hip-hop drum beat and catchy boyband-like vocalisations. However, it feels very messy in all its minimalistic joy. You have Miho Hatori’s repetitive lyrics about getting “the cool sunshine”, some reversed and heavily-edited vocal samples, Tina Weymouth and Chris Frantz doing whatever the hell they want in the background with some multi-tracked humming from frontman Damon Albarn, behind careless and slow verses from Albarn. You also have the “we gon’ break out” bridge thing, which is just kind of there? And then you have the various synth noises going on in one specific ear while there’s finger-snapping – could we have saved this for the video, guys? I don’t know, this song is fun and I’m still relatively positive on it, but like “Tranz” and “DARE”, it seems like too much is going on throughout. Also, I don’t know what’s Albarn, what’s Hatori, what’s Weymouth and where the hell Frantz is, so that’s lovely. It just piles into some kind of ball of musical elements, but they don’t mesh. They just keep growing.

#3 – “U Remind Me” – Usher

Usher is one of my favourite artists of all time. His charisma and personality is unmatched in R&B, and he will go down as a legend with some of the best club bangers and powerful and slick R&B ballads in music history. This is US chart-topper “U Remind Me”, from his third album 8701. While I’ve always preferred the Confessions era (my personal favourite Usher track is “Confessions Part II”), I can dig his earlier stuff and this is no exception.

Those introductory strings are damn beautiful, and then the piano and the synths come in, to assist Usher in all his glory, with his smooth delivery and scratched backing gang vocals. Sure, the lyrics can be seen as pretty corny or selfish and close-minded, but Usher pulls them off with his immense amounts of swagger, with a guitar coming in to match his charisma in the second verse. Oh, yeah, the song’s about a girl he can’t date because they remind him too much of an ex... for a song about what seems to be a first-world problem, Usher’s melodramatics may seem unnecessary, but they’re really not. The catchy hook and his many ad-libs really help rather than hinder, as it becomes pretty beautiful considering its potentially silly subject matter by the end. Maybe it’s too long, maybe it’s too overdramatic, but I don’t care. Usher pulls it off like no-one else ever could.

#1 – “The Way to Your Love” – Hear’Say

Okay, can I get a “get out of review” free card? Come on, it’s the eleventh new arrival and it’s the most anti-climactic, blandest-as-possible pop song, orchestrated by a trash talent show, with talented yet uninteresting and charmless singers, as well as cliché production – although the drums here are pretty cool albeit unfitting, I will admit – including the cheapest strings I’ve heard this side of Soundcloud rap, which I feel I’ve made too many comparisons to in a blog about 2000s pop music. Ah, well. What’s this song got to say, do or try and get across? Nothing. Nothing at all. This is so cheesy that I feel the milk being heated already... yet it’s not even funny. It’s just boring. It’s just a slog. Just an uninteresting, undeserving #1. At least it’s not “Freaky Friday”.

Conclusion

Best of the Week goes to “Hard to Explain” by The Strokes, no competition, although “U Remind Me” is an Honourable Mention and deservedly so. Worst of the Week? Although I have the most bile for our #1 here, yeah, it’s going to “Innocente (Falling in Love)” by Delerium for just being insanely boring, with Dishonourable Mention going to “The Way to Your Love”, I suppose. Nothing here is outright bad, just very uninteresting. See you tomorrow for REVIEWING THE CHARTS!

1 note · View note

yayodancing · 6 years

Text

(Archives) Beautiful Lou Interview

Beautiful Lou is a producer, who also happens to occasionally rap, residing in San Antonio, Texas, who can always be reached at his #rare Tumblr. - http://beautifullou.tumblr.com/

His career may appear young, but his signature trademark of dark almost hymn-like gothic vocal samples combined with a slowed down BPM that is always screaming to be Screwed (pause?). Having produced for Lil B (Cocaine and the Illusions of Grandeur remix), Main Attrakionz (primarily Squadda, having produced on his I Smoke Because I Don't Care About Death album as well as the more recent Black Kings), and many talented lesser known emcees (Western Tink and Yachtsmen certainly come to mind first), Lou's profile has raised greatly since I met him a year ago.

I recently asked Lou for an interview, and he happily obliged; hopefully I can showcase the man behind the music as well as the producer and rapper in the light he deserves. Admittedly nervous about conducting my very first interview, I called up Lou on his phone and got ready to break that cherry (||).

Firstly, thanks for fucking with me, bro. You have no idea how much I appreciate your support; we're coming up in this game now together, and that seems so appropriate. But before we get to anything, because of how refined your music is, I really need to ask; how long have you been producing? Rapping?

Three to four years, but like a lot of the shit you're hearing now is pretty old. When I was in Dallas, I was more active making new beats, but when I moved to San Antonio, I couldn't really get anyone to rap on my shit. I liked the lyricists, but they weren't really feeling my shit, I guess that wasn't they were looking for. So, when I moved to San Antonio, I started fucking with the Internet real heavy - that lead me to Lil B, Squadda B. I was really about trying to keep it Texas, y'know, local; that's just the sound that I wanted to help promote, the artists around here. But when I checked with these people online, they had a style that really brought something to rap. They're kinda doing things on an avant-garde level, but they still keep it street.

Now that's kinda leading me to getting attention around here, with Lil B popping off, Squadda B getting attention from the blogs, which is crazy because I did production on SNYL from I Smoke Because I Don't Care About Death. Your style is very different from any producer I'm hearing out there; it obviously shares some sonic qualities with the emerging Based genre of production, specifically the lo-fi, scratchy effect, but it differs so greatly from producers like Clams Casino or Keyboard Kid. All those melancholic droning-samples, the dirty 808s, the funky bass reminiscent of Pimp C's trademark Southern comfort; it's all so welcoming, so breathtaking.

Who're some of your inspirations, past and present?

It's weird because I didn't even hear of Clams or Keyboard Kid before working with Lil B; but present, now I'm just listening to like a lot of the shit they're putting out, anyone that's working with Lil B. It's cool to be able see people that're in my same lane, really just soaking it up, seeing the type of sound we're created. Past? Really, the first CD that I bought with my own money was OutKast - Aquemini. That shit pretty much defines the type of sound that I'm trying to do. It just has a lotta screwed elements to it, especially on Aquemini; it just feels like Texas. Because we've been doing that down here, the pitched the horror music and stuff, y'know; it's a crunchy sound. Especially synths, and those types of instruments, they sound real good to me; it just creates a certain broken digital sound. But definitely Screw and Pimp C, just that sound that'll stick with you.

I know you're very #based, but your production bleeds with such sorrow - you seem like such a positive, upbeat guy from what I've heard from you and the times we've exchanged messages over the net. Even now on the phone, your tone is still bright, uplifting; does this music come from a certain place in your soul? Are you letting the song cry, word to Hova?

I guess I'm just trying to hit the emotion with that song - you know, those screwed vocals are just so sad, they hit that emotion with you. Like that first time I heard, even though it wasn't a pitched down vocal, you know that RZA song, Tearz? From 36 Chambers? The first time I heard that shit, it just hit me so emotionally; I just didn't know music could hit that chord with you. Just the way he pitched up chopped those vocals, pitched them up. Just something about that really stuck with me; those voices. Like that song I just gave to Lil B, the Illusions of Grandeur (Remix), there's just this sample there - and to me, his voice just makes the beat. It's just so dark and lonely.

So, Lou, you finally released your EP recently, something I've been waiting on personally for quite awhile. The EP isn't completely full of Lou raps - which kinda saddened me. The other tracks are exceptional, especially Squadda B's Black Kings and Lil B's Cocaine, two songs I was already a big fan of going into. But do you ever think you'll take up the mic more? I fucking love your flow man.. maybe it's that Southern drawl you have, but I don't think anyone sounds as good on your production as you.

I dunno man, the producer thing popped off more; like I'm getting a lot of request for beats, and sometimes they'll request a feature too, because they've heard me do these freestyles. I mean, if I could - to be honest man, I dunno anyone around here who really has a proper studio, or even a mic or anything. In Dallas it was a lot easier, but here in San Antonio, there's not that many people doing it. But, once I get some more money saved up, I'm gonna try to get more studio time and everything. I think the direction I really wanna take is doing more freestyles, because I really like performing; that's what I wanna do more of, and of course I'm gonna do more songs. Plus, the video aspect has really popped off; you know, people just like watching that type of shit, the freestyle videos.

Yeah, I remember you dancing around in the video from the Letedra Bal4head, with you dancing around in the rain, that was just entertaining as hell.

[Lou laughs] Yeah, you know, I just had a lot more time back then, but now I'm so busy. I had so much more time back then when I first moved to San Antonio, no one was was really paying attention to me. But now, I'm just trying to get everything together; but I intend on doing more videos here when I get the time.

Where do you get most of your samples from? A lot of the samples are just so bleak, but I can't tell if they're taken directly from other musical outlets or not. At times I can't tell if you screwed the original sample to a crawl or if you happened to record a choir of dying angels. I mean that in the most complimentary way, too; a choir of dying angels is pretty epic.

I used to do soul beats, but now, I just sample a lot of New Wave, a lot of 80s artist from the French scene; those voices, those instruments, they're really the type of thing I'm looking for. Like I used to be a really big fan of Prince, so that's the time period I really look for. I go to a lot of different places to get like 25 cent CD's, you can find a lot of shit. I do like vinyl, but it's just a lot easier with CD's, plus they were more popular during that time frame I was looking for, and you know, no one's really mining that period. Plus a lot of the homeboys know the type of music that I like to sample, so they find stuff and bring it to me.

You've worked with some fantastic talents, and all of you continue to keep pushing out great music on a seemingly daily basis. Who're you working with now? Who do you really want to work with that you haven't had the opportunity to yet?

Well, right now I'm working with Western Tink; he came down here for SXSW. We did some songs, shot some videos. I really like him, think he's got a lot of potential, so I want to push him. He's really got a good sound, a good ear; I mean, some people don't like he raps, they think he's too basic, but he really get a good point across. Squadda B and the whole Green Ova crew, they've shown me a lot of love, so I'm really just trying to fuck with me. Pretty much Lil B too, man; I'm grateful that he's been working with me. That's pretty much it; I mean, I got Sed the Dean from Ohio, and Sam Rubik outta Brooklyn. They both pretty much hit me everyday, and I like their shit, I'll put it out.

And I'm really trying to fuck with Soulja Boy, man; I like that you write a lot about Soulja Boy, dog. There's just something about him; just the way he writes a hook, they're just so catchy. Even when he's just fucking around, he can't help but write a good chorus. I was really hoping the Lil B connection would help me, he said he'd send some stuff his way, but I don't really have an email for him.

But yeah, I really want to work with a lot of local talent; I like looking at the local scene, like K-Dog productions, it's got a lot of potential. It reminds me a little bit of the Dallas scene from like 07, 08. It's just the scene moves so quick; y'know, it's not like the scene has really moved, I dunno if you listen to much Dallas music -

I used to listen to Tum Tum's album a lot when Caprice Muzik was popping, but that's really as far as I go.

Yeah, I used to stay like right down the street from T-Town Music where Tum Tum was signed. I used to play beats for him - a lot of my older shit, my early shit. It was pretty wild, I hung out with him, a lotta local dudes; it was just fun being a part of that when that was starting to blow up. Like Mr. Pookie, Mr. Lucci, that was from around the way, around Simpson Grove, just being able to see them on TV, it really influenced me, anything that I really did.

Random as hell, but I need to hear Beautiful Lou laced Brick Squad with some beats, man.

Shit man, a big reason I even got into your blog was how much you were writing about Gucci. Like, he's one of my biggest influences, especially with the Burrprint [3D]; and he'd be like, the number one dude I want on one of my beats, dog. Like, even though I don't think it's his style, I think he can really come out of left-field. Like shit he does, like Anti-Social, all the singing and shit, I love that shit, man. But yeah, if I could get one rapper on my beat, it'd be Gucci.

Yeah man, Gucci's my favorite rappers, I've been listening to him and writing about him for way too long, taking it way too seriously.

Yeah man, but there is a lot of layers, and no one else really appreciates that shit. Like, that's why we're fucking with you and the other blogs, because no one writes about that type of shit, I don't think anyone else sees it. Like, growing up around those lyrics, I was always wondering "how come no one's into this shit?" Like everyone is all bigging up deep lyrics, conscious music, that shit, and I'm not trying to be too harsh on it - but no one's really paying attention to what we're doing. Just talking about money and riding around smoking weed in a creative way, just having a good time over crazy beats and shit. To me, Gucci like epitomizes that shit - I could go on about that for days.

I think that's the type of thing I wanna hear on my beats, you know, even though my shit is dark and ethereal shit, I just want people to talk about money, and just talking shit on my beats, just because it's such a great contrast to the beat. Like, all that shit, I listen to that shit all day.

With Lil B blowing up and being all over MTV, opening the doors even further for original, somewhat ambient producers/rappers like you, I've gotta ask; do you have dreams of ever going mainstream?

Shit, I'm glad just being local - even though I'm on the blogs, on the Internet, that's cool too. Like, I dunno if you read what I wrote, but I wrote that I used to just read rap magazines all day, just reading XXL and the Source at grocery stores when I was a kid. Like, the blogs are like the new magazine to me. I mean, I'm not gonna say that's good enough for me, but it still really trips me out. That's really all I got into it for at the first, just dreaming about you know, one day making it in the magazines. Even though it's really hard to make money outta music right now, it's just important to me to be talked about, to be a part of hip-hop history. Like you guys are really archiving it, putting it into context for everyone. Just getting recognized is all I need - I mean, I could make some money, I've been getting offers and everything - but just being talked about is enough.

#beautiful lou

3 notes · View notes

machinehead · 7 years

Text

CYPRESS HILL

Anybody remember these lyrics…? "Say some punk try to get you for your auto, Would you call the one-time, play the role model? Nooooo, I think you play like a thug Next hear the shot of a magnum slug Hummin', comin' at cha yeah ya know I'm gonna gat ya” Or this one? "Time for some action, just a fraction of friction I got the clearance to run the interference into your sattelite, shinin a battle light, swing out the gat, and I know that will gat ya right? Here's an example, just a little sample. How I could just kill a man!” Or this one "Do my shit undercover Now it's time for for the blubber Blabber To watch dat belly get fatter Fat boy on a diet Don't try it I'll check your ass like a looter in a riot” And that ends with: "Happy face n***a never seen me smile”. Always loved that line! Been on a serious Cypress Hill kick lately. I forgot how good their debut S/T record is! Maybe that it’s just that it takes me back to that time (1991)? Regardless, I can’t get enough of it right now. I saw that Billy from Biohazard is jamming’ with Cypress Hill’s Sen-Dog in a new band called Powerflo, and that sent me back down the rabbit hole. I first heard about Cypress Hill from a local Bay Area magazine called BAM. It had a hip-hop column that was pretty small, but was often on the pulse of all the new stuff. I checked ‘em out solely on the advice of the columnist (whose name eludes me) but got hooked instantly. The music was so fresh for the sound at the time, which relied heavily on 60’s psychedelica (sampling Hendrix and a plethora of cool guitar licks for their hooks) and 60’s pop yet with an almost bluesy major key undertone throughout. It sounds crazy to say now, but back then there weren’t a whole lotta’ people singing about weed like these dudes were. That was the surface; party stuff, but there was a real dark feel to the lyrics. The album opener ”Pigs” (about crooked cops) sets the dark tone and then track #2 was, (which ended up being the hit single) “How I Could Just Kill A Man” (which sampled a guitar lick from Jimi Hendrix's “Are You Experienced”) and “Hand On The Pump” (of a shotgun…) taking it even darker, melding the post-Rodney-King-era of Los Angeles, with their South Central, blunted out state of mind. Something about the bluesy feel of the music mixed the B-Real’s nasally almost nursery-rhyme delivery made it all so goddamned catchy you could not get the songs out of your head. One thing I always loved that the main music-crafter DJ Muggs did was he almost always brought in a bridge/key change at the halfway point of each song. It doesn’t sound like much, but hip hop at the time (and even now) kept the same beat/melody almost entirely the same. They brought terms like “gat,” “blunted,” to the public consciousness. Soon enough every rapper and pop group from Ice Cube to TLC was taking a crack at the Cypress Hill sound with bluesy riffs, and major keys at a time when hip-hop was primarily atonal and noisy (think - Public Enemy). By the time I got into them, I had pretty much stopped smoking weed, but I just loved the vibe that they brought. Genevra and I went and caught them live on this album, they were headlining a small club in San Francisco with a fairly eclectic bill for the time. There was Money B of Digital Underground opening, and pro-African, uber-black-power, also-rans X-Clan (who were never really that good, but dressed so crazy and militant that they stuck out) as main support. Cypress Hill came on and played a short but inspired set that got the crowd going nuts. I actually met B-Real before the show, who was just chilling’ in the crowd. I said “what up B-Real?” He took one look at Genevra (who looked ridiculously hot), gave me a completely dead-fish handshake and started chatting her up. I was “all right, we're outta here!" It was a great fuckin’ show, the energy, and buzz in the audience was palpable. Not sure if I would do that now (go to a hip hop club), but I was 20-something and fearless back then. And while the hits from the debut album still resonate with me, it deep album cuts like “Pyschobetabuckdown" and "Latin Lingo" that truly set "the kids from the Hill" apart. The latter blending english and spanish to form the bi-ligual “Spanglish” that flowed so good when you heard rapper Sen-Dog’s baritone with lines like "Troop like a vacuo, who said I was baracho, had an attitude, tried to play me macho, Just relax, calmado mijo, Sen Dog with the funky bilingual.” I still don’t know what most of it means, but it somehow made sense. I followed them through the next couple records with 2nd album “Black Sunday containing the massive smash hit “Insane In The Membrane,” and the very metal-sounding “We Ain’t Going Out Like That” (which sampled Black Sabbath’s harmonica intro for “The Wizard”). Overall the album wasn’t as strong. It seemed rushed with a lot of the exact same lyrical content, though with that said, it still contained one of the most random / awesome lyrical gems with “like a chicken wing, pa-cock, so you can just suck my cock!” in the track “Lil’ Putos.” So fucking random, but every once in a while, I still hum it! Temples Of Boom was the last record I really delved into and it had a few gems like “Throw Your Set In The Air” (as in: your gang set), and the brutally dark Ice Cube diss track “No Rest For The Wicked,” but other than that it was a little all over the place. I didn’t even hear the next album “IV”, but then they came back stronger than ever with 2000’s “Skull & Bones” and the rap/rock cross-over double hit “So You Wanna Be A Rock/Rap Superstar” which they did 2 versions of (a Rap and Rock version) that worked equally strong. Great storytelling mixed with the realities of being in the music business. They have gone on to become a southern California staple with an semi-annual festival (I think) called The Cypress Hill “Smokeout” (Machine Head played it back in 2000, but we were way out of place). Last I saw them Cypress killed it, putting on a really good show that showed them evolve into a full live backing band playing along with them. Since I listen to all of my music solely on Spotify, I’ve been playing the latter day tracks and checking out what they’ve been up to (Spotify is GREAT for music discovery, I cannot tell you how many bands / songs I’ve found since going purely Spotify!) and they definitely continued to evolve a bring in some cool new tunes. But if you want to go back in time to 1991 and check out a record that changed shit, a record that hit so hard when it dropped, that was pissed off, a record that even inspired a few of my own lyrics on Burn My Eyes (“Blood For Blood" in particular) check out Cypress Hill’s self titled. Spotify: Cypress Hill – Cypress Hill YouTube: https://www.youtube.com/watch?v=UQ7DOkfbgpQ

youtube

Subscribe to The General Journals: http://thegeneraljournals.hosted.phplist.com/lists/?p=subscribe

#thegeneraljournals

3 notes · View notes

kongquips · 7 years

Photo

Greetings true believers, and welcome to the TUESDAY COMMUTE

Quality music to listen to on your commute to... well... wherever!

Heres the link to listen: soundcloud.com/kongsongs/sets/tuesday-commute

I plan on doing this every tuesday, which not only gives me an excuse to listen to more music, but allows me to connect more with folks over great tunes! Feel free to hit me up on twitter (@kongquips) with some soundcloud links for consideration.

Tracklist:

1) Yank$ “Bounce-a-delic Funky”

Issa vibe this week. Since classes started, already stressing the mess out of people, i wanted to keep things fairly lighthearted and wavy. I just randomly found this dude on SC one day and absolutely fell in love with his music! All of his everything sticks to your head with melodies sweet enough to ice, and flows for DAYS! Though honestly, as much as i love Yank$ on this track, his producer Svmson is the real star here.

2) Monte Booker “Raindrop, Droptop”

I get it, you’re sick of this song... and honestly i don’t blame you at all lol. This song blew the f**k up for, by itself, God knows what reason. However Monte Booker, who you probably know from Soulection (and if you’re in my city, Smino’s newest record) puts “Bad & Boujee” by Migos into a new, brighter, more glitchy context. That, and the fact that Lil Uzi Vert is nowhere to be found on this remix, makes it much more enjoyable.

3) Cosmo Pyke “Social Sites”

Don’t really know where to start here... Should I mention these wavy ass guitar melodies? Should i talk about his smoky croon, with subtle harmonies to boost his tone even further? Or should i start with the beauty these lyrics of heartache and mundane British life provide. Either way, pretty much this whole EP “Just Cosmo” is crazy, bluesy inspired indie-pop that everyone should check out.

4) Cvnvvn “Pizza Planet”

Some dreamy, yet hard-hitting chillwave from a St. Louis native, that I’m consistently surprised with, and honored to call a personal friend! A sadboy’s turn up anthem laced with dreary synth patterns coated in Gross Beat glitches and that glorious, glorious chiptune. a 90′s introverts ideal, by us for us lol.

5) Drea Vocalz “Dreamin”

...and quite dreamy it is! This beat knocks something fierce, and quite unexpectedly. Quick enough at least that you might forget to notice the numerous synths and syrupy harmonies that lace this record with beautiful atmosphere, though i wish it were a bit longer. This songs got a quality ass video too that sets the stage even further (https://www.youtube.com/watch?v=qRtFIlvbQ4k). Then there’s Drea herself, who’s soulful voice i would probably need a whole other post to gush about. Shouts to the Therapeutics real quick. SQUAAAAAD!!!

Catch her ever sunday at Lyrical Therapy (facebook.com/LyricalandTherapy)

6) Ric Wilson “hangloose”

If you can manage to listen to this song sitting down, i question your humanity and think you might need a shrink. Everything about this song screams for you to get up, dance and enjoy the vibe. Ric’s flow is simple and rhythmic, fits right into the house-y pocket the beat provides. The jazzy horns and half-step, trap-esque breakdown are just the icing on the cake.

7) the Domino Effect “+Frequencies (feat Lyrique & E. Clair)”

First off, BARS!!! Second, flow for DAYS!!! Steve N.Clair and CUE come through with an airy and groovy anti-stress/pro-ganja track who’s instrumental evolution still catches me by surprise. Lyrique’s vocals on the intro (Shouts to SQUAD!) only add to this stressed, yet relieving vibe the song provides. Peep their soundcloud too, CUE just dropped a solo project that i’ve been hearing rave reviews about.

8) Kero Kero Bonito “Lipslap”

So... not gonna lie, i’m kinda weeb trash. I’m in love with a lot of things that stem from Japanese culture. I’m a massive anime nerd, and am bordeline obsessed with harajuku fashion and the J-Pop scene. So when the god sir Anthony Fantano hipped his subscribers to a London based J-Pop group, i couldn’t help be curious. This song was one of many that made me instantly grateful. Again, if you can listen to this sitting down, i feel bad for you.

9) KYLE. “Raining Love”

Keeping the energy alive, this dude is blowing the hell up recently. With features in XXL and getting a plaque for his massive hit “iSpy,” dude is kinda everywhere right now. And i’m glad, because i’ve been following him for years (on some hipster sh**,) he deserves all of the recognition. I thought i’d hip you to one of his older tracks, my personal favorite of his first album “Beautiful Loser.” This hook, this beat, everything about this song should’ve been on the top of the charts... but hey, you gotta start somewhere.

10) Gorillaz “Doncamatic (ft. Daley)”

Gorillaz are my all time favorite band. I will debate anybody who thinks they’re anything less than stellar, come at me scrublord i’m ripped. However their new album left a lot to be desired, feeling more like a compilation of Damon Albarn and his famous friends than a proper Gorrilaz record, which led me back to this song. Though the guest feature is the prominent voice (who was an excellent choice btw) the songwriting here is much more enjoyable, and fits the its album “Plastic Beach” fairly well despite not being on the album. One of my favorites of theirs.

11) Izah YG “SpaceJam”

And to close us out, the vibe here is pretty much everything. The jazzy bassline under this lucious sample and simple drumline set stage for the growth the St. Louis rapper has made since his last project “FearGod.” Though i highly recommend that tape, Izah as a rapper and songwriter is leaps and bounds past, and this song (and his newest “D’usse”) only prove that.

Lemme Know what you think (at) kongquips on twitter, and tweaks i should make to the format or so on. I’m still working out the kinks.

...and soundcloud never wants to work with my artwork for whatever reason... but we’ll just let that slide this week lol.

Peace & Love

-KONG

#music #playlist #commute #train #stlouis #deejay #vibes #school #Tunes #issa #wave #we #straight #chilling #today #funkadelic #curator #soundcloud #new

0 notes

theworstbob · 7 years

Text

yellin’ at songs, week 26

capsule reviews of the songs which debuted on the 7 July 2017 and 8 July 2017 editions of the billboard hot 100

7.7.2007

61) "Lost," Faith Hill

"With everything I have doesn't mean a thing if it's without you." I. Don't know what that means? I could stare at some of these lyrics and not really understand what's happening other than I'm supposed to believe in love and all its power, which is probably the most we can expect out of a late-career Faith Hill song. It's not great, but, y'know, just as I feel weird about trying to assess Fifth Harmony songs, I feel like Faith Hill songs are reaching for that Aunt With Too Many Inspirational Quote Pillows demographic, and I have to respect the choice she had made to service this demographic. This was someone's third wedding song, and I think that's beautiful. (Also, credit where credit's due, Kara DioGuardi co-wrote a song I tolerated.)

65) "Never Wanted Nothing More," Kenny Chesney

This is a weird one. Because it's Kenny Chesney, but it's also Chris Stapleton, but it's also Chris Stapleton writing a Kenny Chesney song. It's complicated. Like, you look at Kanye West's early discography, you see names you know, Jermaine Dupri, Goodie Mob, Lil' Kim, Nas, Alicia Keys, you see respectable names, you can see how the songs Kanye produced would fit into the greater Kanye catalogue. There's a difference, of course, between production and writing, but early Kanye doesn't feel like producer-for-hire. This song is written so outside the voice I've come to associate with Chris Stapleton that I can't imagine him ever writing it. Like, this song fits in with the Chris Stapleton origin story because it shows Chris Stapleton has been doing this thing for a long time and was good at it, but that's the only way it fits. This is just a Kenny Chesney song that Chris Stapleton happened to write, whereas "Izzo" is a Jay-Z song with a Kanye beat. Country music's weird as hell, man. I ain't gonna get it.

69) "Dance Tonight," Paul McCartney

it's gotta be pretty nuts to know that your status as one of the greatest songwriters of all time is so secure that there is absolutely nothing you could do to remove yourself from that pedestal. Like, the only reason I can find for a song like this (read: a bad one) being made from a dude at this level is, he was bored and wanted to see if people would call it an extraordinary songwriting feat if he just dropped a track like "it's nice when people have fun!"

74) "Let It Go," Keyshia Cole ft./Missy Elliott & Lil Kim

Pretty good! A little subdued for my taste, a little too restrained for a song about letting go, but I think we've talked about how I'm not naturally drawn to R&B simply because the genre is so subdued and restrained, so it's probably my own fault I'm not as into this song as I feel I should be. Like, I like all the names involved, I thnk Keyshia Cole was a pretty decent singer, I like the ingredients of the song, but someone put them together with a different palette than mine in mind. Ugh, and that's just the worst, how the world doesn't make enough things for white males to enjoy. This song, though, I think it's a'ight! I have no complaints about it specifically!

91) "How Do I Breathe," Mario

...i swear i've heard this exact same r&b song at least twice, though. like, "let it go" had missy on the track, it was cool. this is another song about a man who is sad his girlfriend left him and wishes she would come back. mario's a more engaging vocalist than the joes and tanks of 2007, like i'd like to hear him sing a better song, but... man, this week is just songs i didn't need to hear, and not in the sense that pop music is bad and i shouldn't try to listen to this much of it, more that 2007 just kinda said, "hey, here's some shit you've already heard from us, have fun." i feel i don't need to have an opinion on this song because i've already had an opinion on some stargate joint or another, y'know?

97) "Doomsday Clock," Smashing Pumpkins

hey speaking of unnecessary, another smashing pumpkins song! and not even one i need to begrudgingly admit is good, this one is the thing i expected smashing pumpkins to sound like, billy corgan nasally whining about some bullshit or another while the guitar plods along dutifully. nothing here is innovative, nothing here takes smashing pumpkins and frames it in a new light for me, this is just a song that exists. these songs all exist.

Well, obviously, since we’re hitting the halfway point, we’re gonna be doing something special! ...Or I would forget how to count and not realize this was the halfway point. Anyway, no Top 20s because nothing changed. 2017!

8 July 2017

4) "Wild Thoughts," by DJ Khaled ft./Rihanna & Bryson Tiller

I don't believe anything Bryson Tiller says on this song. My understanding of Bryson Tiller was that he was a simpering sad boy who sang about his feelings, so when he comes on a track where he a) has to present himself as an equal to Rihanna and b) has to make the argument that he is a worthy sexual partner for Rihanna, it's hard to take him seriously, because all he's done before suggests he's not this person. Like, someone thought of Bryson Tiller was the answer to the question "Who could make Rihanna think wild thoughts?" and that's just amazing to me. Literally anyone else would have been better. Are we not ready to lean so fully into the Latin trend that we'll give Luis Fonsi a starring role in a DJ Khaled song? Are we just this over Miguel? Hell, we know from "Run Up" that PARTYNEXTDOOR's capable of being occasionally interesting, why not him! This song could've been something, but man, that Bryson Tiller feature sinks it.

51) "Feels," by Calvin Harris ft./Pharrell Williams, Katy Perry & Big Sean

I appreciate the work Calvin Harris puts in to making pop music funky again, I think he's aware there's a direct line in music history from him to The Chainsmokers and he's doing his best to distance himself from that, but there's a limit to how much I can enjoy a song with the line "I know you're not afraid to catch feels with me." Like, this is another good song, Calvin Harris has been doing work this spring/early summer, it's just, one of them has to be the worst, and it's this one with its tumblr-ass hook. I wish I had a more legit reason to not be into this song. Nope. It's just that one word. I don't even necessarily mind that word, it's just, an entire song built around that word isn't a party I wanna attend.

61) "First Day Out," by Kodak Black

Nope!

83) "Relationship," by Young Thug ft./Future

Comparing Young Thug to the other dudes in his genre is like comparing a wasp to a group of bumblebees. They're sort of the same thing, but Young Thug is so much different and fearsome. ...This isn't his best song? This is the song you'd expect to chart off the album given the pedigree, but also, it isn't, because there's so many other, better songs on the album? But we should be evaluating this song for what it is, not what it isn't. "I put my dick inside her mouth before she act." Neat! Of all the many things Young Thug is, he is not perfect.

89) "Feel it Still," by Portugal. The Man

I AM IN FAVOR OF ALL THE BRASS 2017 HAS GIVEN ME THIS YEAR. The only instance of a brass instrument I remember from 2007 is the "Get Buck" beat, and I am so thrilled with the occasional blasts on this song. It's a fun song by a band I know I've heard about at some point but didn't expect to see here. I thought Portugal. The Man was ponderous indie nonsense, but yo, if they got one of these in them, I'm down to see what else they got. It's weird when it turns out bands everyone says is good make good songs. Like, what happened to bands like the Arcade Fire, who just whined monotonously over jingle-jangling?

100) "Real Hitta," by Piles ft./Kodak Black

...Are you. Guys. Are you serious? Piles? PIIIIIIILES? Of all the fucking. So many rappers hit in 2007, and the one y'all dredged up to make the Deacde Dance Club, literally the week I introduce that as a thing, is maybe the worst one, the one whose name I didn't even bother to spell right, I thought he was so yesterday. I'm not gonna listen to it for what I hope are obvious reasons, but that doesn't mean we can't jump into the AZ Lyrics page. "All that ass she got back there startin' to look like a Pamper" This is the least sexy way to describe a butt since "My Humps." "Sex game undefeated, think I'm 100-0" ...Has Piles only fucked 100 times? I mean. Hey, nothin' wrong with that, I'm not here to prude shame anyone or promote promiscuity or whatever, but even in the last 10 years, 3,650 days, Piles has only fucked once every five weeks or so? Or is he just on a winning streak, like, that's how many times in a row he's ejaculated? (I'm assuming he's not bragging that, every time he has sex, he makes the woman cum. I don't think Piles has ever had a woman's pleasure in mind when setting about his business.) This is a bizarre boast. "Biggest thing he ever did for you was take you to Chili's." ...Okay. Okay, that's pretty good. "That lil pussy was so sorry, I call it minimum wage." You know what fuck it I'll take gross political commentary. Piles had two lines I enjoyed out of the context of the song! There may be hope for all of us y -- oh right Kodak Black "I'ma come through, and I'ma fuck ya like the police lookin' for me" Well, that's about as tone deaf as I expected, alright, well, there's hope for some of us.

Decade Dance Party

...Um. 31) Piles We said that it’s hard to have two hits ten years apart. What this list presupposes is... What if it isn’t?

Who Won the Week?

A few weeks ago, there was like a three-year stretch where the Houston Texans and the Cincinatti Bengals would play each other in the football playoffs. They were boring games and bad to watch, and while the Bengals and Texans were good enough to have made the playoffs, it kinda sucked that one of the two got to go to the next round while a different, more fun team to watch gets eliminated, or was left out of the playoffs entirely. “Feel It Still” is a fine song and is definitely better than “Let it Go,” but like. “Feel it Still” shouldn’t be the champion for the week. I dunno, kinda meh for both weeks, 2017 takes it because I don’t think “Feel it Still” should get demerits for all the Kodak Black I didn’t listen to. So.

2017: 14 2007: 12

Next week, 2007 is giving us what is indisputably greater than all The Beatles songs put together. (I linked to that specific post because gosh that dude adding his two cents at the end is the reason op exists.) But will it be better than the alt-country song and the indie-rock song I for some reason ranked over “Umbrella?” ONLY TIME WILL TELL.

1 note · View note

ricardosousalemos · 7 years

Text

Salt-N-Pepa: Very Necessary

In 1990, Salt-N-Pepa walked onto the Hollywood set of “The Arsenio Hall Show” ready to spread awareness about HIV and AIDS. The men in the audience were fervently doing the signature Hall bark well beyond the call of the show. The Queens trio—Cheryl “Salt” James, Sandy “Pepa” Denton and Deidra “Spinderella” Roper—were there to promote their spot in a fundraising traveling tour of Heart Strings, a new musical about AIDS and HIV featuring Cher and Magic Johnson, where they would perform their PSA-rework of “Let’s Talk About Sex” titled, “Let’s Talk About AIDS.” Maintaining its message that if you’re having sex, you have to talk about “all the good things, all the bad things,” the alternate version fine-tuned the song so that its focus on sexual health was more explicit.

But it was hard to tell who in the audience was there to hear Salt-N-Pepa and who was just there to look. “We’ve talked about the image of female rappers in the past,” said Hall. “Your image is a lot more lady-like. Do you think that’s the reason for these guys?” A clearly frustrated Salt responded, “We’ve gotten a lot of flack about that.” She looked exasperated. “I’ve heard people say we’ve gotten over on our looks. First of all, I ain’t know I look that good. To get over for six years on your looks? We’ve been around for awhile and if it’s just looks, then that’s messed up.”

If their fan base included dudes who just had crushes, they only made up a sliver. The rest were there because S-N-P were spearheading a movement toward take-no-shit femininity that didn’t require them to dress like B-boys. “We’re not soft, we’re not hard,” Spinderella explained it to Arsenio. Salt lifted her Docs over his coffee table and told him their style was all lipstick and combat boots.

So much of the first decade of Salt-N-Pepa forged a path for women to follow for the next twenty years, both in rap and pop music, as well with social and sexual mores. The whole map of their conquest is laid out on their 1993 album Very Necessary. The confidence of “Push It”—which Pepa has insisted is about dancing, not about sex—and the emotional intelligence of “Let’s Talk About Sex” are present, but the womanly conviction here is far more plentiful than it had been in their music before. It was a palliative to the hyper-misogyny spewing from their male contemporaries. If Snoop Dogg and friends were going to harangue hoes, then in Salt-N-Pepa’s world, words like “hoe” and “hooker” were just as applicable to men. They maintained their themes of sexuality and empowerment—and were in good company with Queen Latifah’s “U.N.I.T.Y.” and TLC’s “Ain’t Too Proud to Beg”—but it got a new look. Whether in combat boots or pum pum shorts, their message was still clear: women need to have agency over their sexuality and, if she’s safe, she can express it however the hell she wants.

The album’s lead single “Shoop,” in particular, is unintentionally prescient about the contemporary inverted misogyny so many feminists engage in now, in jest or otherwise. In the video, Pepa tells Salt and Spin about her weakness—“men!” they chant in unison—while she scours guys on Coney Island playing dice. It is reverse catcalling, a playful way of leveling the field of objectification.

In a 1995 conversation with Mary Wilson of the Supremes for Interview, Salt conceded that the perception of the group changed once they started talking more frequently about their own sexuality instead forecasting what goes on behind other people’s closed doors. “When we get raw and sexy some people say, ‘Why do you have to go there?’ I feel like, as long as you’re letting the world know that you're intelligent and you're to be respected and you have a mind of your own and you're taking care of business, ain’t nothing wrong with showing off what you got, especially when you work out almost every day to get it. Of course, you have to show it with taste and with class. It’s about having an attitude of your own.”

Part of that attitude was putting men like the ones in the “Arsenio” audience squarely in their place: sometimes women get to do the barking and no one gets to judge them for it. Very Necessary is packed with anthems that are unafraid to look at men with the same ogling eye and do not accept being told it’s unladylike. “None of Your Business,” the album’s third single, denounced slut-shaming before it even had a name and is stridently dedicated to pushing a message that no matter how desperately you want to judge women, it will not matter to them. Spinderella calmly raps, “How many rules am I to break before you understand/That your double standards don't mean shit to me?”

Just as combative, “Somebody’s Gettin’ on My Nerves” is one of the album’s finer (and fiercer) points. Salt-N-Pepa make club records, but this track shows off they fare just as well when the bars are the focal point. Salt raps with a sober precision that only comes with a particularly refined and potent fury (it is not dissimilar to Ice Cube’s bite on N.W.A. diss “No Vaseline”). It is also the perfect playground for knockout punches like Pepa’s “You rolled up on me in your man's Beemer/And I could look at you and tell you was a meat-beatin' daydreamer.”

Some of this ferocity is bolstered by the production handled by Hurby “Luv Bug” Azor. While quips like, “Get off my bra strap, boy/Stop sweatin’ me” are part of S-N-P’s power, the track’s menacing bass is what keeps it ice cold. Azor had been mentoring the group since he put Pepa and Salt together as the duo Super Nature in the early ’80s. He had seen them through their four preceding albums, but after relinquishing production control to Salt for the Coltrane-sampling single “Expression” from their 1990 album Blacks’ Magic and a toxic romance between Salt and Azor ended, the women wanted more say in what went into Very Necessary.

A 1994 New York cover story reveals that Azor found “Shoop” uncompelling and that he wanted the group to take an even softer approach. Despite how much of a hand Azor had in the album production, Salt-N-Pepa's interest in keeping it more "street" endured. Songs like “Nerves” and “None of Your Business,” do have the trappings of the gangster rap that was populating the charts, its toughness mainly comes from the take-no-shit vocality delivered by the group. The album’s textures are as sundry as the city they are from: Opener “Groove Me” is indebted to the outer boroughs’ West Indian populations; “Break of Dawn” lifts the ecstatic sax from the J.B.s’ James Brown-produced “The Grunt” and takes Joe Tex’s funky “Papa Was Too” and pounds them into Queens Boulevard brashness. Public Enemy may have been the first to use “The Grunt” on their 1988 track “Night of the Living Baseheads,” but Salt-N-Pepa were in good company, as Wu-Tang Clan and 2pac both used the same sample in that year.

On top of the beats, it was Salt-N-Pepa’s relentless campaign for social and sexual agency that drove the album. “Sexy Noises Turn Me On” may sound a little bit dated in 2017, but the frankness with which the women express their needs is anything but. It is the precursor to so many Foxy Brown one-liners and songs like Rasheeda’s “My Bubble Gum” and Nicki Minaj’s “Get on Your Knees.” There are calls elsewhere on Very Necessary for reciprocity, like when Salt raps: “You’re under my control/I got your heart and soul/Go down and take your time” on opener “Groove Me” but they were pushing to do even more than just smash the insidious taboo that women can only perform oral sex, not receive it that many of their descendants have rallied for (see: Lil’ Kim’s entire 1996 debut album Hard Core).

This attitude bleeds through to tracks like “Step,” which uses a hefty sample of Hank Crawford’s jazzy “It’s a Funky Thing to Do” and comes off optimally unbothered. “Somma Time Man” is reproachful of male promiscuity (just like their 1986 Otis Redding-interpolating song “Tramp”), but so much of the critique is about infidelity and the lack of safety. Ultimately, Salt-N-Pepa’s mantra when it came to AIDS was, “If you don’t get it, you can’t spread it.” It is their entire ethos: sex is happening everywhere and it cannot be ignored because like all other thrills there are risks—risks you take with your heart and risks you take with health. If you’re doing it right, there’s no shame attached to it. It’s why they wrote “None of Your Business,” but also why they spent many of their television appearances talking about how easy it is to put on a condom.

Pepa and Salt appeared on “Charlie Rose” a year before the album was released to talk about their activism. “Some guys don’t think it’s macho, some girls are insulted if you ask to use a condom,” Salt told Rose. Pepa offered, “It’s not macho to get AIDS… You have to wear condoms like you put on a jacket when it’s cold…” With many fans confiding in them their own diagnoses with HIV and AIDS, they felt it was their responsibility to keep the conversation going. Very Necessary closes with a skit unlike almost any that has ever appeared on a pop album. Titled “I’ve Got AIDS,” the sketch is a harrowing performance from two members of the multicultural peer education group WEATOC from Boston, Massachusetts. The script is bold and stark, featuring a female member, distraught, explaining to her boyfriend that she has just come home from a clinic where she was told she was HIV positive. Her partner then accuses her of being with other men because, even though he is untested, he couldn’t possibly have HIV. To close it with something so dark is to remind your audience to take care of themselves and that committing to your cause means using your platform to disrupt. Their fearless outspokenness has been unrivaled in the mainstream, conscious rappers be damned.

Salt-N-Pepa, however, do not explicitly call themselves activists or even feminists. In the same interview with Mary Wilson from the Supremes, Salt also said: “I think we’re feminists to a certain degree. But I have no problem with the man being the man, as long as the man knows how to be a man.” The biggest song of their career, “Whatta Man,” is a paean to good-looking respectful guys. Peaking at No. 3, the track united the trio with En Vogue, who were still riding high off of their star-making sophomore album Funky Divas, released the year before. Although the song’s ballast may be “good men are hard to find,” the use of Linda Lyndell’s classic “What a Man” and Spinderella referencing Whitney Houston deep cut “My Name is Not Susan” in her verse still keeps it a celebration of womanhood. The video co-starred Naughty By Nature’s Treach, Pep’s IRL man at the time, and remains one of their fluffier offerings. In the context of the album, however, it rounds out the robust portrait of women’s romantic interiors: Not all love is fleeting and when it is good, it is so good.

That lyrical flexibility made Salt-N-Pepa so versatile. Like their contemporaries Queen Latifah and MC Lyte, the group was interested in exploring their own world, from quotidian romances and jealousies to the ever-present threat of AIDS, as well as gang violence and drugs. This panoramic view of not just personhood but womanhood paved the way for someone like Nicki Minaj to be a pop superstar while still sticking to her Smack DVD roots. Whether they were thinking about it at the time, their output has always been about giving women opportunity to express themselves.

In a recent interview on BuzzFeed podcast Another Round, rapper Remy Ma noted that because it is a genre that clings to youth, its legends get brushed aside. The acclaim dwindles and no one graduates to become like the Who or the Rolling Stones. Salt-N-Pepa were celebrated at VH1’s Hip-Hop Honors in 2016, but the event was specifically about female MCs and the celebration was a catch-all including so many artists for whom they were the forebears. They are classic enough to have toured with both the Fat Boys and N.W.A. (who were the women’s openers!) but are now relegated to ’90s nostalgia package tours, top-billed with people like Vanilla Ice. Instead of being canonized for their contributions to the genre, they are playing side-by-side with someone whose one hit song made a mockery of it. But that’s the thing about Salt-N-Pepa: There is so much more there than what you see on the surface.

#reviews-albums

0 notes

mymindontv · 7 years

Text

dopamine do you wanna smoke some dope with me

I’ve sold a G are you holding G I got some for me you don’t smoke for free

gotta pay the fee or at least gotta bring the drink

gotta pay the price if you wanna smoke the trees you gotta say please

unless you’re fam I got that good that dank god damn

let there be light it’s god’s command I am just a man

and I don’t claim understand how to make a grand

drop bombs in the sand Iraq Iran Afghanistan

build a wall and make it so god damned tall

so strong it will never fall we’ll spend it all

blame the cabal illuminati if I recall

don’t think it’s against the law do you see a flaw

I tried to vote just so you know I hope one day to be the GOAT

take the game up by the throat and squeeze so hard until it chokes

I’m high I float just going slow punknub’s the name and now you know

you can’t ignore the way I flow it’s like a river and it goes

I’m the best say that shit with your chest

don’t be stressed they’re not impressed

I passed the test my answer’s yes

you should expect nothing less from the rest

don’t be depressed I request and I suggest

play my music hit refresh and hit replay be my guest

You're trying to be Kendrick but then you're sounding like Kanye

and imma Drake on yo momma get me a Chance to meet Andre

Cudi a buddy Frankly the Ocean is lovely I think my Future is super Tyler create me some money

After some Asher let Eminem in the mix

Snoop by the Cypress and light this while I take a Wiz

Lil B or IceJJfish and I will blast it with piss

Don't be a whack ass piece of shit you won't get hit with my diss

Run out so I 're up and hit up Devin the dude

Got my Tech N9ne by my side kc mo understood

Wale and Afroman and we smoking on good

Ice cube Biggie or Tupac if you're kicking it in the hood

Feeling childish just try this until 3005

listen to j cole and schoolboy as long as I am alive

Del the funky homosapien seems like a good guy

with so many dope ass rappers why should I even try

Aesop Rock or A$AP MOB I’m punknub but call me Sean

Little Wayne or Little John chillin out with some Akon

bumpin Big Boi at my prom and send us out with some Nasty Nas

good or great it’s a coin toss but I hope to one day hear applause

0 notes

icklemissmayhem · 3 years

Text

"the plating is good here" apparently it tasted alright too..!

#min yoongi #bts #funky lil rapper dude #wind up merchant

2 notes · View notes

deadcactuswalking · 6 years

Text

REVIEWING THE CHARTS: 6th January 2019

The twelve pop songs that weren’t Christmas are all in the top 13 along with a new arrival, so, yeah, essentially this week is the same as last week without a holiday. Everything that was below the top 40 just came back in spades, hence...

Returning Entries

There’s a ton. Let’s get all of the returning entries and drop-outs in our first, very busy week of 2019, done first. Let’s go, starting from what’s at the top to what’s at the bottom. “Hold My Girl” by George Ezra is back at #14, “Baby” by Clean Bandit, Marina and Luis Fonsi is back at #15, “This is Me” by Keala Settle and The Greatest Showman Ensemble is back at #16, “A Million Dreams” by P!nk is back at #17, “Woman Like Me” by Little Mix featuring Nicki Minaj is back at #18, “imagine” by Ariana Grande is back at #20, “Promises” by Calvin Harris and Sam Smith is back at #21, “Going Bad” by Meek Mill and Drake is back at #22, “Let You Love Me” by Rita Ora is back at #23, “Shallow” by Lady Gaga and Bradley Cooper is at #24, “The Greatest Show” by Hugh Jackman, Keala Settle, Zac Efron, Zendaya and the Greatest Showman Ensemble returns to #25 (this was the first song I ever reviewed on this series so it’s crazy to see it back pretty much exactly a year later), “Happier” by Marshmello and Bastille is back to #26, “Advice” by Cadet and Deno Driz is at #27, “Mo Bamba” by Sheck Wes is at #28 (and while I’m at it, “SICKO MODE” by Travis Scott featuring Drake, Swae Lee and Big Hawk is back at #33), “Eastside” by benny blanco, Halsey and Khalid is at #29, “A Million Dreams” by Ziv Zaifman, Hugh Jackman and Michelle Williams comes back to #30, “Leave a Light On” by Tom Walker lights up at #31, “KIKA” by 6ix9ine featuring Tory Lanez jumps back to #32, “Girls Like You” by Maroon 5 featuring Cardi B rears its ugly head at #34, “One Kiss” by Calvin Harris and Dua Lipa, the biggest song of the year in the UK (yes, the year-end has been released, and I’ll rank it on my Twitter), “Funky Friday” by Dave and Fredo is at #38 (that one’s growing on me too...), “Body” by Loud Luxury and brando is at #39, and “Perfect” by Ed Sheeran rounds off the Top 40. Well, since all of these have had their own reviews on this series before, I might leave links on each song to where they’ve been reviewed or something, although my opinions have already changed. Oh, “Perfect” and “Mo Bamba” don’t have proper reviews yet but it’ll be redundant doing it now because I’ll just be covering them more in-depth on my best list anyway (sorry, spoilers). Now...

Dropouts

Oh, my goodness. Okay, so, every single Christmas song is out. “All I Want for Christmas for You” by Mariah Carey from #2, “Last Christmas” by WHAM! from #3, “Fairytale of New York” by the Pogues featuring Kirsty MacColl from #4, “Do They Know it’s Christmas?” by Band Aid from #6, “It’s Beginning to Look a Lot like Christmas” by Michael Bublé from #7, “One More Sleep” by Leona Lewis from #8, “Merry Christmas Everyone” by Shakin’ Stevens from #9, “Step into Christmas” by Elton John from #10, and the episode’s already half of a 1,000 words. Listen, sorry about all the changes in structure with the series, especially in this episode, but I asked on Twitter if you would rather have me review more songs and not bother with anything else, and no, it was decided by 80% to continue with the standard format in the poll, so, yeah, I guess I’ll have to do it like this for another year. Anyways, back to this nonsense. “Driving Home for Christmas” by Chris Rea is out from #11, “I Wish it Could be Christmas Everyday” by Wizzard from #12, “Santa Tell Me” by Ariana Grande from #13, “Rockin’ Around the Christmas Tree” by Brenda Lee from #16, “Merry Xmas Everybody” by Slade from #17, “Happy Xmas (War is Over)” by John Lennon, Yoko Ono and the Plastic Ono Band featuring the Harlem Community Choir from #18 (God, that is a chore to type every week), “Wonderful Christmastime” by Paul McCartney from #20 – may you rest in peace, you gorgeous novelty – “We Built this City on Sausage Rolls” by LadBaby from #21, “Christmas (Baby Please Come Home)” by Darlene Love from #22, “Cozy Little Christmas” by Katy Perry from #23, “Santa’s Coming for Us” by Sia from #24, “Mary’s Boy Child / Oh My Lord” by Boney M. from #26, “Mistletoe” by Justin Bieber from #28, “It’s the Most Wonderful Time of the Year” by Andy Williams from #29, “Santa Claus is Coming to Town” by Jackson 5 from #30, “White Christmas” by Bing Crosby from #31, “Stay Another Day” by East 17 from #36 – still not a Christmas song – “Underneath the Tree” by Kelly Clarkson from #37, “Lonely this Christmas” by Mud from #38, and finally, “Baby it’s Cold Outside” by Idina Menzel and Michael Bublé is out from #39. That felt oddly therapeutic.

Now, there’s not a single song that fell this week, obviously, but there are a few that climbed outside of the Top 10, and they’re all rebounds from the avalanche.

Climbers

“Without Me” by Halsey is up three spots to #11, “Lost Without You” by Freya Ridings is up 20 spaces to #12, and finally, “Thursday” by Jess Glynne is up a whopping 27 positions to #13. Now, with the chart finally rid of those pesky Christmas songs, welcome to 2019, everyone, and this is the state of British pop as the year turns around.

Top 10

“Sweet but Psycho” by Ava Max is spending its second week at #1 today, which is cool, I guess, but i don’t imagine it holding on for that long.

Ariana Grande’s “thank u, next” is up three spaces from last week to number-two, but now we’ve got some massive jumps from scattered within the top 40 straight to the top 10.

“Sunflower” by Post Malone and Swae Lee from Spider-Man: Into the Spider-Verse is up 16 positions to number-three.

At number-four, we have an 11-space increase for Mark Ronson and Miley Cyrus’ “Nothing Breaks Like a Heart”.

Finally, in what feels like ages, we have a top 5 debut, with Post Malone having his ninth top 40 hit and sixth top 10 hit this week, as his new song “Wow.” enters at #5. We’ll talk about it at length later on.

At number-six, Lord help us, we have “Baby Shark” by Pinkfong up 21 spaces from last week. This is the best proof we’ve had since Mr. Blobby that the charts are ran by children.

“Shotgun” by George Ezra rebounds by 26 spots to number-seven for no good reason. Go away, please, for my own sanity.

Oh, joy, James Arthur too, with Anne-Marie for “Rewrite the Stars” up 17 spaces to number-eight.

Zara Larsson creeps her head into the top 10 as well after a 26-spot boost up to number-nine, making “Ruin My Life” her sixth top 10 hit in the UK.

Finally, Kodak Black’s “ZEZE” featuring Travis Scott and Offset is up an undeservedly high 24 places up to #10, rounding off our top 10 at way too many words for an episode that has yet to have any song reviews. I’ll try to keep them brief.

NEW ARRIVALS

#36 – “Gun Lean” – Russ

R-R-Russ? Huh... Never expected that name to ever pop up on here, to be honest. Russ seems to only be kind of big in the US but he’s never hit the top 40, and he’s pretty much just a running joke or meme in the hip hop community so I honestly never expected any Brits to take him seriously either but this is his new single, I guess, and it’s not great. It starts with a menacing piano line that could be kind of interesting but then Russ comes in with a British accent and—oh.

#36 – “Gun Lean” – Russ splash

BBC has called new UK rapper Russ splash “Russ” instead, but who really cares? He might as well be Russ because he doesn’t say anything of substance either, with a painfully simplistic hook and chorus that doesn’t really help his lyrical ability shine (if it exists). The heavy bass is obviously trying to be have that energetic old Lil Pump energy, but it doesn’t work when your song is three and a half minutes because this song is tiring as all hell. This is generic British rap that follows the formula to a T, and I hope it doesn’t rise. Speaking of following a formula...

#35 – “Money” – Cardi B

Sigh, I do like Cardi B, but she seems to have stopped bothering and that’s a big issue because that’s the main reason anyone liked her. It’s definitely not the lyrics and while it may be the beat, she always rides it with that loud, straightforward and powerful delivery she is known for, and when you stop trying in the booth, I feel like that appeal is going to squander, and this is her ninth top 40 hit in less than two years, so the fact that it’s going quick is an issue. Anyways, this is absolute garbage. The beats is literally like two piano notes just being violently played under trap percussion and bass, with a recurring high-pitched “Money” ad-lib that is trying to break up the monotony but, no, it’s just annoying. Cardi B sounds more ruthless on the verses, which may actually be kind of unfitting, but it works, although then she gets bored on the chorus. In fact, the transition is actually pretty abrupt and forced here. At least it’s shorter and has a few good flow switches, so it’s definitely better than “Gun Lean” in that respect, but that doesn’t mean it’s good.

#19 – “Play” – Jax Jones featuring Years & Years

This is listed as a returning entry on BBC’s UK Top 40 page but this came out last year and I never reviewed so it’s safe to assume it’s new; I apologise if it isn’t, but I mean, would you care? The lead singer from Years & Years keeps up with a tiring atmospheric house beat, with meaningless lyrics and weak, radio-friendly drops that kind of take away its EDM properties immediately, I mean, the hook here isn’t that crazy of a vocal manipulation either like “One Kiss” or “Solo”, it’s just a pretty comprehensible phrase repeated and edited to sound a tad more distant. It’s so weak and pathetic, although the dude from Years & Years is trying so hard to fit on this beat, it’s kind of funny in that regard. Otherwise, yeah, who cares?

#5 – “Wow.” – Post Malone

Let me put it this way: my sister loves Post Malone for many reasons, one of which being his music, and she’s consistently loved a lot of what I’ve hated from Post like “I Fall Apart” (which is still a gruelling and confusing song to this day, read my worst list if you want to see me go into depth), but not even she could dig this, but I think I know why – she took it seriously. The tuneless keys is the only real build-up we get until Post comes in and there’s a cool noisy melody that ends with a high-pitched screech, and yeah, it’s a pretty awesomely minimal and menacing beat, so surely Post should add a lot to this... well, he literally has a whole line that is just “G-Wagon, G-Wagon, G-Wagon, G-Wagon”, but otherwise his delivery is on-point (I love his voice right at the end at the second verse), his flows are catchy, his lyrics are serviceable and sometimes pretty funny, and every single beat drop here is beautiful, seriously, that’s some perfect production from Frank Dukes and Louis Bell. After Post stops rapping, there’s a period of time where it’s just the distorted melody over some reverb-drowned drums with a chipmunk vocal coming in and him just ad-libbing “wow”, and it’s stunning. It’s not going to replace Beck’s song of the same title and in the same vein (seriously, it’s a trap-rap song too), but this is cool.

Conclusion

This week was mostly trap, huh? Well, Post Malone gets Best of the Week for “Wow.” but Russ splash is definitely bagging Worst of the Week for the dreadful “Gun Lean”. Dishonourable Mention is tied, and goes to Jax Jones, Years & Years and Cardi B for “Play” and “Money”, respectively. Not a great start, guys. See you next week!

0 notes

kashforgold · 8 years

Text

My Top Tracks of 2016

So after months of struggle and conflict, I have conceded that I need to just settle on a list of tracks that I thought banged. This is it:

(visuals courtesy of my fly photoshopping skills)

Before I elaborate on this list, you need to know I have tried to limit this list. Anyone who has spent more than 10 minutes talking to me will know that I am obsessed with Our Lord and Saviour, Yeezus. If you’ve managed to guide the convo away from Kanye, I probably will mention that I am an ardent follower of Lord West’s disciple, The Rapper of Chance. And if you’ve gotten to know me really very well… Frank Ocean will have definitely popped up on the playlist.

In this list, I have imposed rules:

1. No Kanye West

2. No Chance The Rapper

3. No Frank Ocean

4. Avoid the glaringly obvious…

This final rule means I have had to take out a few tracks that have defined 2016 (Work, Black Beatles…), but I have included a few big hits I feel aren’t given the critical acclaim they deserve. Now I’m cutting the crap and starting from the bottom…

Level 5

James Blake - Noise Above Our Heads

I will happily tell you that I don’t know what James is singing about. The lyrics confuse me and parts are distorted to the point of being indistinguishable from noise… but good lord it is a powerful noise. I don’t need to know what James is singing because I feel it in his voice, I feel it in his instruments, I feel it in the layers and the distortions. This track creates longing, a melancholy hope, an unsatisfying acceptance. James Blake creates environments around his songs that push you not just to listen, but to feel, and this track is loaded with them feels.

Disclosure - Boss

I’m thinking back to Electronic music before Disclosure and I don’t remember it being this clinical and precise. Disclosure are clinical and precise, but they got just enough Funky for this Beat Junky. Firstly, that bassline rolling over throughout the track has some direct link to my arse. My movements once it starts are involuntary. I can try my hardest, but there will always be a little grind in my waistline when this drops.

Kodak Black & French Montana - Lockjaw

So who knew that excessive MDMA usage can cause your jaw to lock? What if I told you that in various ‘hoods’ pants aren’t worn low for style, they simply sagging under the weight of weaponry… Kodak Black and French Montana are depicting these 2nd World Problems in relatable scenarios, and with one of the smoothest flows I’ve heard all year. Kodak has had a solid year with killer flows, and on this track he flows in and out, around, inside, outside and all through Montana’s bars. They blend together the way you wish your Stir-Fry Noodles and Vegetables would.

Katy B x Chris Lorenzo - I Wanna Be

Apparently, this beat has been floating about in Lorenzo’s sets for a while. I can understand why. It hovers in that period just before dawn. You don’t want the night to end, but this would be the perfect conclusion. You don’t want the comedown, but this is the soft pillow you want cushioning you as you float back: sleepy and uplifting. There aren’t many scenarios where this song would feel right to me, but when it does, I know it will be magical.

Mist - Karlas Back

I saw a tweet that summarised this dude’s situation perfectly. It was something along the lines of “The only person from Birmingham allowed to speak is Mist”. All Brummies struggle in life with their misfortune of an accent, but this guy BANGS. Grime is dominated by Roadmen from LDN, so its refreshing to hear an exotic accent (yes, I did just call the Brummie accent exotic).

Danny Brown - When It Rain

Danny Brown sounds over the top and completely bonkers, so it makes sense for him to rap “When it rain, it pours”. Brown’s showing how extreme the world he knows is. Bullets are not raining, they’re pouring… This isn’t another rapper glorifying the violence he grew up in, nor is he looking back at it having escaped. Danny Brown shows you how this life be straight from the hectic streets! He ain’t slowing or dumbing it down for you. Danny’s out of his mind, and this shit is real.

Level 4

MØ - Final Song

This ain't as funky as Kamikaze, or as cool a song as Kamikaze. But it still gives me an energetic joy. It’s gotta be MØ’s quirky voice, or the odd emphasis she puts in at unorthodox points in words. but whatever it is, this song is trash and awesome.

Kungs vs Some guy and some other Bollocks - This Girl

The more you analyse it, you find a number of elements plucked straight from the catchiest tracks of recent years: a guitar riff lifted out of Get Lucky, trumpets that wouldn’t sound out place with Omi, a chopped up and screwed vocal in the bridge/chorus. There are probably more, but this is too vibey to even care. If a track makes you feel too glorious to analyse, its doing something right.

PARTYNEXTDOOR - Come And See Me

A song about one-sided casual relationships. PND gets some sassy lines in (”talkin lot about ‘we’, Oh you speak French now”), but this light bravado depicts him more as the antagonist. This whole song makes us empathise with his ‘victim’. PND and Drake make weak arguments for their case, but their ‘cold’ front is made weak and brittle. This track is a soft light on the fragile facade of heterosexual masculinity.

Solange ft Lil Wayne - Mad

The Angry Black Woman is being asked why she always gotta be so mad. This song isn’t complex at all. It’s as though, not only is Solange explaining that there is a lot for her to be mad about, but she’s dumbing it down for us sheep. The double standards and discrimination are clear in society if you know where to look, and Lil Wayne offers some examples. But Solange keeps this track very maternal, and it gets more comforting with every listen. It’s a protest song that is aware that anger and proactivity achieve nada. The revolution is gonna be patient and will delicately empower us to pick apart the lies.

Giggs ft Donaeo - Lock Doh

Giggs is barely even rapping here. A few carefully selected words, couple tings name-checked, a raw minimal beat, and Donaeo on the hook: somebody make some mash cos this looks like the recipe for a Banger!

Level 3

D.R.A.M. & Lil Yachty - Broccoli

Back in 2015, D.R.A.M gained a cult following. Hotline Bling was one of the best tracks of 2015, but I feel Cha Cha set the tone that Drake polished off. Many other artists have fallen away having gained an initial boost with a Drizzy connection. D.R.A.M looked like he was to follow this path. He was too weird, his great musical ideas to few and far between, and just seemed a bit too off-centre… *In walks Lil Yachty*. The kids love him and I appreciate the boyish immaturity he raps with. The Broccoli beat perfectly complements this boyish immaturity. Lil Yachty stole this track and looks set to get bigger, but hopefully not better.

Lil Uzi Vert & Future - Too Much Sauce

Lil Uzi Vert is another artist riding this new wave in Hip Hop with Yachty, and the aforementioned Kodak. His voice is a little whinier (in a good way) than your average rapper, and this track again is the springboard shooting Lil Uzi and his style up the wave. Despite Lil Uzi’s efforts, Future is the star of the track. Future is the blueprint of contemporary Hip Hop! His sound is all over this. Every other big track this year can be classed ‘Inspired by Future’. Every other rapper in this new wave is Future’s child. And my favourite word of 2016, is #Sauce.

Mura Masa - What If I Go

I love Mura Mama’s production and on this track he smashes it. It’s twinkly and swirly in the verses and the instrumental after the drop has just enough weight of bass. There’s an enduring sweetness that carries through the whole track. It’s like a Vienesse Whirl.

Alicia Keys - In Common

In Common keeps the rasp and Polish I expect from Keys’ brand of polished R'n'B, but mixes the flavours a little. Some genius in a studio polished off some slightly tribal drum beats which have no right to sound this smooth. This isn’t a normal beat, and this Alicia isn’t singing a conventional song. She is embodying the wooing process of today. She’s breathlessly nervous during the flirtatious part, then she sounds strained and stuck between options when she tells me that we have way too much in common. And then she’s announcing with certainty that I’m messed up too. And still I have no idea whether I’m in or not…

Level 2

Skream - You Know Right

youtube

I was on the M3 stuck in the 50mph zone when I caught this, mid-track, on Radio 1. It intrigued me, so I stayed. It was building up to something and it felt like forever. Still in the 50 zone, and still the track was building. The end of the limit was ahead, and the track switched up. It had to be turnt up. I was getting turnt up. I was at the end... I'd made it... but what do I do now? The song silenced to offer me a moment to think. Man, machine, and music were in a magical moment of synchronisation. BOOM!

This track is everything great in British Electronic music. Elements of house, trance, dnb, two-step, garage. To fully appreciate these, you need to listen to the full-length version. It's a prime example of escalation. It's a demonstration of how the same beat, with the right escalation can switch from hard, to melt your face gassy

Yuna ft Usher - Crush

youtube

Instead of the awkward, terrifying, uncomfortable trainwreck I went through, I wish my first crush was more like this. Pure, innocent, untroubled. A little coy, with destiny guiding you where you needed to be. This track feels like its been touched by destiny. Every stage of the song seamlessly flows and blends. Usher and Yuna seem to be able to feel each other’s vocals and glide through this 4 mins making you wish it would never end.

Drake - Fake Love

Drake is the zeitgeist of 2016. He was on your radio, your phone, your fake news, your memes. But people still don’t understand that Views is probably his weakest album! The only track Drake dropped in 2016 that would make it onto his greatest hits (due 2018), is Fake Love. Some of Drizzy’s best work comes from his throwaways: Club Paradise, We Made It, Ransom, Draft Day, Hotline Bling, Dreams Money Can’t Buy, 9am in Dallas, 5am in Toronto... I could go on. IYRTITL was a mixtape of experiments that became one of his most critically acclaimed bodies of work.

Drake is at his best when he’s experimenting, switching things up, venting. Fake Love is just this. He sliced up the tropical dancehall vibe he popularised w/ Rihanna, switched his style to mimic young Tory Lanez, and sprinkled a little of Hotline Bling’s Cha Cha magic. It shouldn’t work as well as it does, but there’s no point complaining because Drizzy is gonna keep dropping the catchiest bangers.

Level 1

Flume - Never Be Like You

youtube

I’ve not liked Flume for a while. It stemmed from an early disliking of some his remixes. Not my cup of tea. And I’ve swerved around this teacup since, but then I heard Never Be Like You. Turns out this Flume kid can create audio magic.

Contrary to all the OTT maximalist stuff I associate with Flume, this sounds like its being forcibly restrained. There's an angst being held back, with twinkly hope popping through in sweet bursts. It's disjointed with silent patches specifically placed to enhance the overarching rise and fall. This wave is coursing throughout the whole track, constantly gathering momentum until the end when your ears yearn for it to crash, that never comes. This is an exhilarating, breathtaking journey that exhausts you, but never truly ends, no matter how many times you try to find one.

Beyonce - Hold Up

youtube

The reason I had to allow Beyonce in this list is because everyone else would have you believe Formation should be up here. They are mistaken.

Look at the origins of this track. Ezra Koenig tweeted “hold up... they dont love you like i love you”. This already sounds like it could’ve been Vampire Weekend’s most profound song ever. Then Diplo, the most influential producer this decade, gets Ezra into a studio and they create a demo converting this tweet into the shell of a masterpiece. *In walks Queen B*

Ezra probably repeated the ‘They don’t love you like I love you” for rhythmic purposes. Beyonce, with the torturous relationship of Lemonade, flipped the spine of the song. First, its ‘Hold Up, please don't hurt me like this’ and then its ‘Slow Down, you ain’t never gonna get better than me’. Each line has its own angle on the revelation of this infidelity. There’s a feminist strength in this song and Bey’s delivery adds an independent defiance. The beat carries a bumptious swagger to gloss over the delicious rage Bey is ready to ‘fuck her up a bitch’ with.

The reason this tops the list is unexplainable. The instrumental is on sitcom level of comical. On any other beat, this song would be nothing special. But they combine gloriously. Beyonce’s sweet, sharp Jam is so much more fulfilling with Diplo’s salty, gloopy Peanut Butter. It's another one of this universe’s mysteries as to why this piece combines so well together, but Diplo has a knack for this, and Bey’s gonna slay regardless.

#music #2016 #best music #top tracks of 2016

0 notes