#Bandcampgold-Fuel City by The Outfit, TX

#Bandcampgold-Fuel City by The Outfit, TX

by Dan-O

Pressing play on Fuel City by Dallas rap group The Outfit, TX is like discovering Three 6 Mafia for the first time.  That is not to say they are doing Three 6, this just has the permissive energy of the best crunk you can think of. I love the beginning of Goin’ Up where the opening verse surges into yelling that takes on a three part shout harmony for the chorus.  The Outfit, TX are masters in the art of high and low, whenever they start calm they lull you into a false sense of security they explode out from. They have brilliant songs where they turn all the way up (the first three songs: Big Splash, Phone Line, and Goin’ Up) but they are contrasted by whispery low key effortless swagger (Insumnia) and gorgeous middle ground sounds where the song does a hard bop while they maintain a heightened agitated cool (Dez Bryant, Look Crazy).  The last similar group this good at flicking the tempo switch up and down to this extreme was Ying Yang Twins and it’s a favorable comparison. Ying Yang twins were one of those authentically dexterous  groups, confident in who they were and so unified in talent you never sat back and thought either of them killed one the other on a track, their verses hung together and formed a real themed work(even when the themes were very closely aligned).

Fuel City is one hundred percent smash hits which is why it is only ten songs.  They know better than to wear you out. As ferocious, jarring & scary as Told That Bih is on first listen the song before that is a melodic sex brag mutter so minimal (Outta Control) by contrast you can see the authorship in the ordering of songs. It took years and years of work to get things running this tight. Living in Maine I didn’t know of them until Killer Mike demanded people check them out in an interview. Ever since then I’ve been watching them sharpen their swords in hopes of getting to this level. When you hear the warning that ends the final track (Really Off) lambast the listener for sleeping on them (“I’m a give myself and my N’s our flowers on our own s__t and let you listen to it B#$%* @$$ N_ I ain’t waiting on you N’s applause no mo'” It sounds mad extra but he’s right. In the case of a group with the powerful melodic energy of The Outfix, TX ignoring them has grown them to unimaginable levels.  As I listen to Look Crazy for the thousandth time I can’t help but think about the first time I heard their name and thought “that name is dumb” they’ve been making me pay ever since by making songs so inescapably catchy and lyrically throttling I can’t get away from them. In the outro the warning accuses us of making monsters and in a rap world full of junkies and exuberant social media warriors maybe a few monsters are what we need.

Stream or download Fuel City below:

 

https://powrecordings.bandcamp.com/album/fuel-city-2

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#Bandcampgold-Songs.4.People.Who.Break.Bread by Niko Is produced by Thanks Joey

#Bandcampgold-Songs.4. People. Who.Break.Bread by Niko Is produced by Thanks Joey

By Dan-O

More than anything else Songs.4.People.Who.Break.Bread is a celebration of leveling up. I have been writing about Niko Is every year since his marvelously perfect 2012 Chill Cosby mixtape. Since that time he has been feverishly releasing material, touring, and playing his position. He’s now Talib Kweli’s right hand man, the kind of guy who can live in a tour bus for months and unfold himself as a lyrical dynamo from a weeded up sleepy state.

Songs.4.People.Who.Break.Bread isn’t my favorite Niko project for the simple fact that I remember release after release that was all him with one or two guests(Brutus is the Reasonable Doubt for Niko)  and his ability to breath fire and sew together disparate imagery was all I ever wanted. This project definitely has that. The last song is my favorite: God & the Devil in the land of the Sun is a scare your parent’s banger where Niko fires sneaky sit & think about it lyrics while exactly in the pocket of the melody, the groove. Niko has been doing this so long and so religiously that he fits no matter what beat starts.

Another rewarding aspect of following the development of Niko’s movement is I am as much a fan of his chosen producer Thanks Joey (Joey Creates). Early production was proudly boom bap under Latin Soul samples from the greats (Tim Maia comes to mind from Chill Cosby).  Joey has grown with Niko and now while he still can give you beats under that formula he has grown into all other levels. Say U Don’t has voices chanting in the background sampled into a stew of tortured sound while the bass bubbles and thumps. Wildest Dreams sounds like Jungle ambiance over drums that would bring a tear to Timbo’s eyes. These 8 songs are the closest Joey has been to becoming the Latin hip hop stripped down banger scientist version of Swizz Beatz. On 5am @ Walmart he sets a classic hip hop tone that allows for great verses from not just Niko but Mygrane & Murdoc. That song is meant to be a cypher of lyricists so the beat needs to lead from the back and Joey can do it. Joey can do anything.

Niko has worked with other producers who have done great work but any Niko fan ends up wondering, why not just all Joey? Joey is so good. So that is what we get(and have gotten for a while). U Could Be My Gal is Joey’s prettiest work with finger snaps and gentle cooing looped as the beat knocks. The first Bandcamp tag is “bossa nova” the second is “hip hop” and it makes sense. At this point Joey could use nothing but Astrud Gilberto samples and give you the hardest hitting hip hop album of the year. Songs.4.People.Who.Break.Bread is a better showcase of Joey’s growth and expertise in his field than Niko. Niko understands at this point.  He’s proved his bars all over tracks with legendary mc’s (Styles P, Kweli, Action Bronson) and reliably put out albums where the concept is simply that Niko Is dope, albums that work better than fancier concept albums from major artists.

Songs.4.People.Who.Break.Bread is an affirmation that as a team they are officially staples and it is known outside of Florida, outside of the weird subset who feverishly repped him. When Chino XL comes onto Spanglish in Outerspace and rips into Woody Allen and Usher in a masterful scene stealing verse you can see the long haired stage crusher smiling, not at all feeling uneasy that he just killed on a track but excited that he gets to be on it with Chino (F*CKING) XL. He lives a life where Kool A.D. will give him a verse now and he got there through his loving monogamous relationship with the beat. You can call him an energy guy but ever since he’s been around Kweli….Kweli has sounded totally re-energized (see Carmen off Niko’s Brutus LP). That is Niko and it is Joey and it’s appreciated.

Stream or purchase below:

https://nikois.bandcamp.com/album/songs-4-people-who-break-bread

Song Review-Bamboo by Skyzoo produced by MarcNfinit

Song Review-Bamboo by Skyzoo produced by MarcNfinit

by Dan-O

Skyzoo is so gifted that at times he’s too much for himself. At points in his discography his high IQ on jazz meets his high IQ pen and he puts out projects no one can understand. His new eight song project Peddler Themes is Skyzoo in my favorite place.

Bamboo is the most precise example: the beat takes boom bap nostalgia to real trunk rattling levels, the chorus is totally unique, intelligent and catchy while his verse is not just intelligent (everything Sky does is intelligent) the images are vivid not just telling the story but showing it to you. Examine the first verse and how the song opens “And he said, the strap black like fab 5 apparel/Sweet 16 running laps outta the barrel/Said it sing lullabies that’ll wrap you like a carol/Ducking that is like juggling laps with a Camaro” good writing grounds you in the scene with detail and Peddler Themes is full of emotionally rich detail. Skyzoo didn’t set out to make a drug rap album or a drug dealer movie but a painting built from hundreds of careful brush strokes.

That being said Peddler Themes color is still very fun. Just listen to Skyzoo (produced by his old friend Illmind) flex effortlessly on Finesse Everything. I think a lot of rappers at the higher end of lyrical density have a tough time getting out of their own way but when a razor sharp expert stays loose, has faith in the design, and pushes forward the result is usually something exciting and Peddler Themes is absolutely that.

#SampleSnitch-You are Who You Sample: Isley Brothers to UGK

#SampleSnitch-You are who you sample: Isley Brothers to UGK

by Dan-O

If a rapper who produces is selecting the same artist to sample over the course of their career you start to see the connection. The latest example is Kanye West and Nina Simone (http://www.vinylmeplease.com/magazine/kanye-west-sings-blues/ great in depth article on that) the two share that kind of driving-off-a-cliff-but-surviving genius. In the case of UGK it becomes apparent that they made their bones on Isley Brothers samples.

The debut full length studio album from UGK is called Too Hard to Swallow and features three Isley Brothers pulls: Summer Breeze as the co-foundation for Tell Me Something Good, Between The Sheets two years before Biggie used it on Cramping My Style, and I Turned You On for I’m So Bad. UGK were a fearless revelation with songs like Cocaine in the Back of the Ride and Pocket Full of Stones scaling back the horrorcore of early Geto Boys in a way that made them more frightening…cause Pimp didn’t sound like he was writing fiction and Bun didn’t sound like he let his feelings get in the way of anything.

Four years later UGK put out one of hip hop’s flawless treasures in Ridin’ Dirty. Being from Maine I didn’t hear it in 1996, I went into the Army and got stationed at Ft. Hood Texas. That is when I rode in my first Cadillac and when my friend played me One Day for the first time. He hit repeat twice until it soaked our bones. Instead of the ball busting ferocity and relentless aggression One Day is a step back appreciation of the finite nature of our life. Bun B trips through childhood, lost friends, sin, prison all with the assured linguistics and breathe control of a king.  Pimp at about a minute and thirty left in the song does one of his trademark shockingly honest admissions “My man Bobo just lost his baby in a house fire/and when I got on my knees that night to pray/I asked God ‘Why you let these killas live and take my homeboy’s son away?’/ Man if you got kids, show em you love em cause God just might call em home,” It is heart stopping. I used to go to cook outs in Texas (or later in my duty station in Korea) and put this song on just to watch everyone stop & turn their attention to it. You have to.

You have to because of Ronald Isley’s magnificently fragile voice chiming in from the last song on their 1974 album Live It Up. The song is called Ain’t I Been Good to You and the album is important because it is in the sweet spot of The Isley format: dance banger-slow jam-mid-tempo-funk then repeat. The other reason One Day can’t be ignored is because of Ernie and Marvin Isley. Marvin’s bass is just monstrous and Ernie is credited on the album with “percussion, drums, acoustic guitar, electric guitar” the rhythm section is all time electric making it damn near impossible not to groove. For those who don’t know Pimp had a big hand (along with the legendary N.O. Joe) with producing all UGK music. He knew that Ronald’s voice would give you pause just like he knew Ernie and Marvin’s groove would keep you nodding your head. UGK created music that wasn’t for the club or the backpack, rider music for car speakers,  for moments like the first time I heard it. They couldn’t have done it without the Isley bump and none of them would have a problem saying that.

The Isley Brothers original:

The UGK version:

#Bandcampgold-Triple Fat Lice by Homeboy Sandman & Aesop Rock

a2063461306_10Bandcampgold-Triple Fat Lice by Homeboy Sandman & Aesop Rock

by Dan-O

It comes out of nowhere in the most assured, thick New York accent “I didn’t vote I already got enough sticka’s.”By the time it hits my ears I’m letting out an audible OOOO making bitter beer face in public. I stare at my phone and say “that is the most NY sh_t I have ever heard.” The man speaking is Homeboy Sandman on Yoohoo my favorite song on the Triple Fat Lice EP he released with Aesop Rock.

I’ve never been a devoted Homeboy Sandman fan, he operates on a level of meta-awareness I find uncomfortable to listen to but I love him on the Lice EP’s. The mission is different, Rock and Sandman gather together to have the most fun they can have and just send it to whomever likes that. On Pins and Needles they repurpose the Phife-Tip interactive Chorus from Tribe’s Check The Rhime. They fill each verse with wild nonsensical humorous brags like Sandman claiming his first name is Danger and then immediately making it clear that these pretzels are making him thirsty. Sandman has always been a great rapper and at times he does turn his self-awareness back up but he’s still in a fun place which makes the journey a joy.

For Aesop Rock’s part the last few solo albums I have been convinced he is at his literal career peak as a lyricist (which I understand is blasphemous to the Def Jux underground). The Impossible Kid was better paced and more personal with less Rubix Cube lyrical word games. On that same song where Sandman goes full NY (Yoohoo produced by Quelle Chris) Rock has my favorite line of the project “I’m terrible at parties, wonderful at tetris.” You can listen to Triple Fat Lice over and over catching more as you go. The hilarity does give way to serious underlying messages. Comfy is about feeling assured that the world around you is so unreliable it makes more sense to never really lay down stakes.  Oh No provides a straightforward bass slapper of a beat and Rock goes off declaring that “the acid in my tummy eats bones and hooves”  before building an even more horrific image of our world “spinning out of the nothingness/ roaches in our honeycombs/ nothing in our moneyclips /bass in our media /spirits in our computers /sad trombones in our futures. ”

It’s followed by Pizza and Burgers where Rock says “Even if I’m Shakespeare on paper in person I’m Beavis.” This is the joke and the truth wrapped up in one and laid over familiar sounding lyricist friendly beats. I’m so glad these ep’s exist and I hope it introduces these guys to a whole new generation who keep hitting their newsfeed for updates on J.Cole and Kendrick doing an album together. The world is so much bigger and weirder and more fun than that.

Stream or download Triple Fat Lice below:

https://aesoprockhomeboysandman.bandcamp.com/album/triple-fat-lice

 

#BandcampGold-A Common Wonder by Amerigo Gazaway, Stevie Wonder & Common

#BandcampGold-A Common Wonder by Amerigo Gazaway, Stevie Wonder, & Common

By Dan-O

Amerigo Gazaway is the best mash up dude in the world right now because when he picks two artists he doesn’t just jam them together he weaves them together. He’s paired Fela Kuti with De La Soul, Mos Def with Marvin Gaye all in ways that made you see the musical link between those artists and appreciate their skill set to a greater degree. Midway through a Gazaway mash up you wonder why you didn’t see it in the first place.

Gazaway’s strength is that he makes bold choices that pay off through deep knowledge of both artists discographies. A Common Wonder pulls heavily from 60’s Stevie in key moments; laying the foundational I Used to Love H.E.R over I Was Made to Love Her and most surprisingly finding a way to make Signed Sealed Delivered (I’m Yours) and The Light seamless dance partners. Innervisions is the current critical go to for “best Stevie Wonder album” and it gets some play in interesting places. Common’s best verses from Chi-City are ferocious and perfect over the funky synthesizers from Living In The City, The Innervision intermission drops in an interview Com did with Rap Radar talking about his relationship to Stevie. It is classic Gazaway in the sense that it provides a meaningful connection between the two while making it clear that while Visions is one of the best Stevie songs ever he doesn’t need it and can use it on a skit.

Young Stevie didn’t have any of the problems Neo-soul did. While Neo-soul seemed to all move at the same tempo and represent as relentlessly earthy (I love Neo-soul but everything has problems) young Stevie brings undeniable kinetic energy to the sonic space he fills. You can hear Love of My Life change for the better as the pace pushes Badu and Common making the song better. As an MC Common has always been a difficult one for me, his best work stands alongside the best to ever happen in the genre but bad Common is horrible. Gazaway finds the verses, the songs that show a real three dimensional beating heart. When you hear The Sixth Superstition you’ll hear Common better than you ever have before and that’s the benefit of a great mashup for the MC, it throws a different light on verses we took for granted.
I had to perform at a very important event, commemorating a very important man and before I spoke I shut myself away from everyone and just listened to A Common Wonder. Someone asked me what I was listening to, I went into full pitch mode and a day later they were in my face about how great the project is. A Common Wonder is a tide that lifts all boats and I am sure that person I pitched is now off somewhere else pitching another friend.

Stream or download below:

https://amerigo.bandcamp.com/album/a-common-wonder

Mixtape Review-Jugg King by Young Scooter

Mixtape Review-Jugg King by Young Scooter

by Dan-O

From afar I like Young Scooter. When I think about how much trap has changed and how much Scooter’s new mixtape Jugg King is right in the pocket of F.B.G. The Movie mixtape from 2013 my overactive mind wanders. Does Scooter see these new happier trappers and see them as a disservice? Does he look down on them appropriating dealer culture while clearly not having the experience in it (by their own admission)? Is Scooter going to see my review and respond to me on twitter? The answer to all these questions is no, a firm no.

Scooter came into rap with beautiful hooks and a hypnotizing flow dedicating every word to dealing and being independent and he is the same today. If you listen to the title track this isn’t one of those rappers who had a fire in his belly when he started and has become jaded. Jugg King’s hook declares it “I do what I want, you do what you can.” How could he be jaded? He never fell underneath Gucci or Future’s wing, never took a spot on a deep roster of MC’s clamoring for number one. He just forged good relationships and maintained them which is why you still see Metro Boomin and Zaytoven on the production list after all these years. This is why you haven’t heard from him in a while and he drops a mixtape featuring Young Thug, Meek Mill, Young Dolph, and Future.

You can listen to Jugg King front to back a few times without picking out favorite songs.  Nothing throws Scooter off his spot, every verse is dope money and deceivers eating his dust.  You can just press play and drive. Even surprising turns fade into comfort; Cassius Jay takes Gin and Juice and flips it into a trap beat for Young Scooter who makes OG Snoop an absolutely weird joy. On Cook Up Young Thug’s purposely distorted voice clicks into synergy with Scooter’s cocksure Juvenile sense of melody, that is the group album that should grow out of Jugg King.

Scooter is great with guests but does not need them. Streets on Fire is a straightforward hi hat first beat produced by Stack Boy Twaun and Scooter deals like it is life’s greatest joy “Jugghouse on a one way, I got four in a row I sold more pounds than Boston George, motherfuck Diego I just stuffed a thousand pounds in a Winnebago” I tip my hat to anyone who can bow out of Jugg King on moral implications. If you don’t want drug dealing to be glorified and Jugg King is too much of an advertisement for the wrong message I get it. Scooter is just too much of a snake charmer for me to let go. He knows how to sway with his tone in subtle softer ways like on Life which gets somber and mixes in anger, pride, shame, and parental joy.

His grand sense of DIY means I don’t even have to ponder his next move. He’s signed to his own label (Black Migo Gang). He’s the Xzibit of trap music. The same way X could jump on Snoop’s album, get Dre to produce for his album and never have to sign to any of them is how Scooter navigates between Freebandz (Future) and 1017 Brick Squad (Gucci) while never losing anyone’s respect. It’s impossible to even watch him sweat under the lights. He’s still smiling.

Stream or download below:

http://www.datpiff.com/Young-Scooter-Jugg-King-mixtape.829704.html