Category Archives: Uncategorized

Song Of The Year-Young and Invincible by Zacari featuring Lil Yachty

Song Of The Year-Young and Invincible by Zacari featuring Lil Yachty

by Dan-O

If you are old like I am (old enough to call Mark Wahlberg Marky Mark) and you dislike/can’t figure out new school rap and its value I can help. This song can help. If Young and Invincible was a rap song from the 1990’s it would be a Lost Boyz song dripping with bravado and name brand name checks. Importantly, it would be shouted at us by Freaky Tah and the gang.

Zacari got together with Lil Yachty to create an anthem in the spirit of this generation. It’s cool and convincingly effortless with an big juicy  out-sized stretched autotune hook. Teddy Walton gives the entire Run Wild Run Free EP its sound, its vastness but on this song he is aided by Gubeatz & IAMNOBODI. The tempo is a strange combination of anthemic and bass driven booty music.

Lil Yachty comes through with a fabulous floating guest verse. Yachty is so much better on guest verses (my theory: Yachty reads all the garbage written about him and tries to make albums that “prove critics wrong” which is a bad way of doing things. When he is guesting he creates with no pressure. When he created his Lil Boat mixtape it was pressure free which is why it is still his best project. STAY CENTERED YACHTY!)

Zacari really does represent what I like about this generation of music. He’s weird, emotional, and his lyrics pay off because he connects to what he’s talking about. On top of that he’s an expert vibe creator with beautiful hooks. It’s different but when you clear your expectations and kick back it is really quite dope.

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#Bandcampgold-Cover Art by Anderson Paak

#Bandcampgold-Cover Art by Anderson Paak

by Dan-O

If you didn’t know who Anderson Paak was after summer 2015 I don’t think you’re a hip hop head. When Dr. Dre came out of his cave August 7th 2015 to release Compton everyone in hip hop noted it. Thumbing through the sixteen tracks listed Paak was on six of them. I know that I let out an audible “Who the F#$% is Anderson Paak?!” That is when I found his bandcamp. Once I heard Venice I knew to pay attention to Malibu.

Now he is climbing to the top of the world. He was on Saturday Night Live playing his own drums, he was on Marc Maron talking about this covers album from 2013. I remembered having dug into that project post-Compton and threw it back into the mix. If you haven’t heard his explanation on Maron: Cover Art aims to reverse the polarity of musical manipulation. While historically black artists like Jackie Wilson get their music made into Elvis hits he wanted to take very white very good music and put the funk back in.

His cover of Seven Nation Army sold my wife on the project. The original reclaimed a good deal of swagger that post-Radiohead rock had lost and Paak by keeping the guitar parts splashy and the vocals as smooth as Brenton Wood singing Oogum Boogum (if you don’t know this song you need to) it actually raises the overall stakes on how pimpish this song is. The other high point is his cover of my favorite Beatles song (Blackbird). While Paak can get super funky and joyously silly he knows a precious moment and how to care for it. Blackbird finds the groove with fingersnaps and he gives it his absolute most concentrated effort vocally.

We love that Paak is talented can play instruments sing and rap but its way more fun that he is nuts on top of that. This dude took Neil Young’s Heart of Gold and threw rap verses on his cover of it (Nocando, himself & milo). The final product is mad weird but valuable and interesting. Cover Art is a short form introduction to the capabilities of Paak with nasty bass lines (MAPS!) and signature flair ever-present even while doing other people’s music; people who couldn’t be more different from what Paak’s music turned into. If you listen to the Maron WTF interview that’s his real secret, he’s so nuts he can sit across from an old crunchy dude like Maron and talk classic guitar rock until he’s comfortable. Year before that he was on Snoops podcast passing a blunt comparing the discographies of overlooked soul legends. If you like music Paak will get you somehow. He’s everywhere.

Stream or download Cover Art below:

https://hellfyreclub.bandcamp.com/album/cover-art

 

Song of The Year-Threat 2 Society by 2 Chainz produced by 9th Wonder

Song of The Year-Threat 2 Society by 2 Chainz produced by 9th Wonder

by Dan-O

Shout out to 9th Wonder who knows the transcendent power of the right sample. Go ahead and find The Truthettes- So Good To Be Alive and bask in how pimpish that gospel song already is. Pumping it up, speeding it up and passing it to 2 Chainz was a brilliant idea.

R.I.P. to all the 2012 white people ironically bumping 2 Chainz on some Trinidad James ish. That is all dead. 2 Chainz has legitimately put his energy determination and creativity into carrying the torch Weezy lit. Pretty Girls Love Trap Music was one of my favorite projects and to follow it with an album as great as Rap or Go To The League is fantastic. You probably heard about this album because it is executive produced by Lebron James and it does talk basketball but that’s just the beginning. This is a very personal album where he talks dead friend’s tax rates dope boy past framed next to sunny futures.

As to-the-bones groovy as this beat is nothing beats the moment when 2 Chainz vengefully spits “I’m so famous can’t even COUGH in peace.” He pulls in lessons from his coaches on jump shots and so much more. With fatherly pride he muses on the possibilities of having another child. While discussing the fact that he doesn’t get the credit he deserves he is absolutely right. The weird thing, I think only three people do. The spotlight has a terrible attention span so if you’re not Drake Kendrick or Cardi you are probably under appreciated. It might take another five or ten years for people to really start thinking about the legacy 2 Chainz has left on the game.  Not just being different but being relentless. It’s that kind of willpower that pays dividends in the form of top notch music like Threat 2 Society.

So you don’t have to look it up here is The Truthettes

#Bandcampgold-Texas Piano Man by Robert Ellis

#Bandcampgold-Texas Piano Man by Robert Ellis

by Dan-O

Texas Piano Man is a country album in 2019. It wouldn’t be in 1973. If this album was released in 1973 it would be a part of that oddball singer-songwriter genre Randy Newman, Michael Franks, and Nilsson championed. Conceptually Ellis messes with the audience and knows he has to earn it by refining the process until what he has is something so beautiful you won’t realize he was flicking your nose in the first place.

The first song (Fucking Crazy) is a great example. My favorite college creative writing class had a teacher who was doing it wrong. He was teaching the utter basics and nothing more. I hated it so much that every time he gave an assignment premise I would bust the guts out of it. He hated reading swear words so I made a generational story about strangers on a plane that entirely oriented around the F word. I knew in order to pull off the deed the characters had to be gripping, the story had to be high level, to erase any gimmick stigma. Robert Ellis reminded me of this with Fucking Crazy. It is so beautiful and has so many F words running through it. Some people might think of the song as a tale of a relationship about to go off the rails….for me it’s just how love feels. Getting in deep with someone else you realize they are really off their nut and you always realize it too late. Your already head over heels for their adorable upside. When he croons (at two minutes and thirty one seconds) “I’ve lost touch with reality there’s nothing I can do.” I absolutely get it.

The piano compositions are so impressive; Lullaby is a great example. The chorus is creepy and he says stuff like “You held me like a sea shell in your hand.” Everything is rich lush and a little off a little odd and southern but not leaning into the commercial aspects of Country. In 2019, Country has a heavy drawl and a familiar production style. The only reason Texas Piano Man sits in the genre is because the oddball songwriter genre is bone dry. Robert Ellis is sharp, clear, and crisp but don’t get it mistaken he shares some of the same sensibilities as 2019 Country. Nobody Smokes Anymore throws a middle finger up at the stiffness of a modern age consumed with making the right decisions all the time. It has some extra cleverness to it, I love when he quietly says “I guess I’ll be the only one who looks good in pictures…”

Best thing is the last song is super weird. Topo Chico is a weird Jimmy Buffett curve ball. The vocals on the chorus are fabulous and the track seethes with screwball sounds behind the guitars gentle strum. Do not get it twisted and think since this is a hip hop site I just found this dude. This guy has been on my radar for years now getting better and better. Texas Piano Man is finally the album where he gave us both barrels. I hope he settles into this lane and builds on the laughter this album ends on. Make that the building blocks of his next five years.

Stream or download Texas Piano Man below:

https://robertellismusic.bandcamp.com/

 

Song Review-10 Piece by Curren$y & Wiz Khalifa produced by Dame Grease

 

Song Review-10 Piece by Curren$y & Wiz Khalifa produced by Dame Grease

by Dan-O

The mixtape era taught artists how to sell themselves post-music industry collapse. When Wiz & Curren$y dropped How Fly they outlined their rap and lifestyle values without any A & R influence or board meetings to approve. They sent it right to us. The duo were all about girls, video games, weed, laughing, loyalty and not a lot of unnecessary stuff outside of it.

I’m glad they got together to break bread over fabulous production and check in on where they are. Curren$y says “We control the town from the couch.” Wiz says “Now we fathers, know that God got us.” I think reviews will come in saying the project is fine. Both of these guys are prolific and that bores reviewers but they have amazing chemistry and share values that trace back to Snoop. They would always prefer to be peaceful. Wiz even ends the song warning that gang life isn’t “the vibe”. On top of that they are growing older and not hiding it. They wear their collective maturity as an honor like old gunfighters who have survived terrible upheaval.

It is deeper than album of the year considerations. These guys left an imprint on the world of hip hop and I’m not sure we take enough time out of our day to think about it. The old heads know both of these dudes can SPIT so they get feature requests from the very best. The new kids know these guys have been successful over a long period and seek to know to understand how. Listen to 2009 you’ll get closer. Along the way you get to enjoy two great technicians.

#Bandcampgold-New Breed by Dawn

#Bandcampgold-New Breed by Dawn

by Dan-O

I am strangely protective of Dawn Richard place in music. I have never heard a Danity Kane song and really only got into her when she took her career by the horns solo. In casual conversation I frequently tell people she is MY Beyonce. Her dedication to dance pop is unwavering with sonic landscapes and giant sized hooks that fill every inch of space. It makes me very hostile when her newest album New Breed is not spoken about favorably. I think it is the best album of 2019 as of this date.

When I was growing up a lot of us thought dance pop was kind of dumb. Post-Ray of Light the genre moved to a template that was slick and impersonal. As a youngster I was always chasing music with individuality stamped into it. It didn’t have to be smart. Curren$y could brag about sipping a pineapple mojito as the sun sets in Milan and I was glued to the speakers. This is what New Breed gives me that makes it untouchable.

Dawn has given us ten songs about personhood. The intro (The Nine) is masterful as the first line introduces us to the street she lived on growing up showing us her watching My So-Called Life hanging out with friends. It’s only a minute and twenty four seconds with powerful vocal backing creating a chant about childhood that sets the pace for the album. The third song (Spaces) opens with her speaking to us about losing that foundation as she moved up in the ritzy circles.  Everything moves and thumps as her voice shows almost unknowable form. Every second matters. The end of the song trails into a clip celebrating New Orleans. Then we get Dreams And Converse which is my favorite song of the year so far. It has bounce that she irons out into creases. Dawn can pump out dance bangers that are more fun than anyone else’s and over time as you think about them they mean more. This song is about strapping up to find your dreams. When she says “I think we should be reckless baby, don’t care if they notice, live life on the surface,” she is laying it out. Fear no ones judgement and let this music help you in that effort.

This is the paragraph where I say she hates Diddy because he ripped her off. She covers this on Vultures/Wolves. To be honest, other people care way more about that than I do. We all kind of hate/respect Diddy (loved him in Get Him To The Greek!) but we understand he is likely terrible to work for/be around. If he wasn’t, G. Dep and Carl Thomas wouldn’t have gotten used like napkins. So if you ever hear anyone who worked first hand with Diddy dissing the socks off him just nod knowingly and respect it. Take in Dawn’s Wolves and don’t feel like you need a special take, she ain’t lying.

The other favorite song I keep coming back to (besides Dreams and Converse) is Sauce. I love that the term sauce is catching fire in hip hop lingo. Flavor is so personal and Hip Hop/R & B allows flavor to shine so you can listen to Migos or Saba and its yours. You don’t have to taste any flavor you don’t like. Find your sauce. Dawn kicks down the door of the song with the opening line as the sample moans and song crackles with analog fuzz she says “It’s the weekend and I’m looking forward to you coming in more ways than you hoppin’ in your car to come and see me believe me.” She cleans her home and puts on his favorite panties. An erotic song is only really good if it makes me feel uncomfortable. This is Janet level seduction, talking about dirty sheets in a hush tone that doesn’t try hard just imposes plans. All the while the 808’s chop and the sample moans. The world of that song expands every time you hear it.

Maybe they think the reclaiming of personhood is corny. Maybe they hate her spoken word on the opening of We, Diamonds. Maybe they remember her as the Danity Kane girl and just don’t study that hard. None of it matters. My favorite flavor doesn’t have to impress opposing pallets. I just wish they could get out of it what I do.

Stream or download New Breed below:

https://dawnrichard.bandcamp.com/album/new-breed

 

 

Mixtape Review-#TDT by Big K.R.I.T.

Mixtape Review-#TDT by Big K.R.I.T.

by Dan-O

I would love to talk to Drake. When he went on Lebron James HBO show The Shop he was asked about the legacy of a truly great artist namely how to assess the ups and downs. The point he made has stuck with me, for Drake, a great artist is not defined by the consistency of output but their ability to navigate the extremes of success and failure. That’s what makes a great story. The great stories are what we remember and they cannot be triumphant all the way through to be interesting. I respect the argument it is eloquent but I strongly disagree.

The new mixtape from Big K.R.I.T. called #TDT would be the key to my counterargument. As a consumer, I love stories but I HATE wasting money. When a top tier artist completely flips what they are good at and go out on a limb…it better work out because I’m paying for the dalliance. I am not a rapper but I pay rappers for their music. I go to shows, I buy shirts, physical albums and purchase MP3 albums. My top tier artist is one I can pre-order without the faintest trace of concern, knowing they will deliver on whatever the cost is.

K.R.I.T. has a discography I can just throw on from any point in his career. He’s consistent and developing at the same time. His best album is always his last one. Dude invented his own sound. Every write up will talk about his debt to UGK (he does have a song called Learned From Texas on #TDT) but he didn’t jack the Pimp C sonics. He took the thump and drizzled blues all over it, soaked it in gospel. The first song (Energy) feels like an anthem but doesn’t crank at eleven like you’d expect an anthem to. Super soulful background singing and humming don’t counter the bass but work in tandem to create a car speaker paradise. No matter which K.R.I.T. song you put on it will sound great because he knows what K.R.I.T. sounds like. That has never been good enough for him.

#TDT is a primer for songs that are going to sound great live. Pick Yourself Up, Energy, Learned From Texas all have overpowering hooks and high energy verses. I’ve seen K.R.I.T. live and he is exciting. He has also improved lyrically by drastic lengths since he broke to the world on Krit Wuz Here. Glorious is devastating flow, gritted teeth, determination music. It’s about being free of Def Jam and being asked how it feels to be indy now. I’m sure the twisted part is he’s felt independent the whole time. He broke on mixtapes he produced wrote and performed HIMSELF. Got signed to Def Jam and no one in the building knew how to sell a dude from Mississippi. He stayed current through his own grind and stepping his game up (Mt. Olympus). The only relatable comparison people had for him was David Banner and I’m sure he was asked if he was like David Banner….nope. Nobody is like David Banner (both are great producers though).

1 Oh Oh is a stupendous relationship song. K.R.I.T. knows how to dialogue with a female audience without shaming them or making it narcissistic. Don’t ask me why I think K.R.I.T. is a top three MC and others don’t. You know the answer. His drawl is too southern for a pop audience that still has a lot of dickish opinions about Southern folks. They want their Southern rappers a bit foolish: shirt off and goofing. K.R.I.T. isn’t breaking down society like Kendrick he’s not NPR analysis fodder but he’s not just turning up. He’s a professionals professional like Sonny Rollins out grinding, discovering new levels of his saxophone, after all these decades. Those dudes mean more to me than the drama of the comeback.

Stream or download #TDT below:

http://www.datpiff.com/Big-KRIT-TDT-mixtape.923730.html