Tag Archives: west coast hip hop

Song Review-Same As by Marc E Bassy featuring Mozzy

Posted on October 1, 2019 | Leave a comment

Song Review-Same As by Marc E Bassy featuring Mozzy

by Dan-O

Marc E Bassy cannot become a pop star with pop songs. I’ve heard every project he’s ever made including his new independent album PMD. When he makes pop songs they don’t have any character and feel like they could have been written or performed by any number of people. For PMD examples try Save Me or Drip. These songs aren’t bad unless you think he’s cheesy and that is a personal taste line hard to legislate. They’re just…a lot like everything else in the genre. The more specific Marc E Bassy gets, the more Californian he sounds, the more fascinating he is. On Same As he talks about 40 ounces and fist fighting at red lights, listening to Stevie Wonder and struggling with growth. His nostalgia is specific and ties into characteristics he hasn’t managed to improve upon. His voice is (and has always been) butter but here it feeds into Mozzy’s listless monotone like the two belong together.

The crazy thing: Mozzy is a perfect example of how not to struggle with content or stardom. Mozzy does Mozzy and his fans love it. He works quickly, efficiently, doesn’t doubt himself and always has something new out that knocks. This has sharpened his sword to the point where he sounds great on a love song like Same As where other hardcore rappers would fail. He outworks the majority.

This song carried me back to an all-timer called Back In The Day by Ahmad off The Wood Soundtrack. The imagery pulls me in and sends me off into my own history. Every time I wonder if following Marc E Bassy project-after-project has paid proper dividends he gives me a song like Same As and I am back in!

CATCH THIS THROWBACK!!!

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#Bandcampgold-Black Beans by Exile x Choosey

Posted on April 30, 2019 | Leave a comment

Black Beans#Bandcampgold-Black Beans by Exile x Choosey

by Dan-O

The world makes us feel terrible. Mac Miller and Nipsey Hussle are dead. Ogres are in power and they don’t even lie to us about how old evil and full of greed/hate they are. Music is necessary, all kinds of music. Black Beans is a beam of light on the dark days and because of that it holds an important place on my favorite albums of 2019 list.

I have to start by talking about Exile. I haven’t done it enough on this blog. I’ve been debating how I feel about his strengths since Blu linked up with him for Below The Heavens. While other boom bap producers (Daringer, Roc Marciano) are superb at twisting the instrumentation and sample into an evil snarl that suits the goon rappers spitting over them; Exile is the best at optimizing his soundscape for warmth. You can listen to the Intro or the first song (I Did) and none of the production is overly dense or crowded. Exile chooses the right elements and places them properly making great use of background vocals, samples, and background vocals. His production perfectly captures that Rawkus records feeling of hearing Mos Def spit on Respiration from the Black Star album(a Hi-Tek comparison is not a bad one). Black Beans is Exile’s best work in YEARS and his work over the years was impressive before it.

If you think this album is corny I guess you’re right. If you think the loving poetic tribute to heritage at the end of the title track is corny, I’m fine with that. If you don’t understand why Choosey is rapping about the candy lady on his block on Satisfied when he could have fake murdered someone in that verse… it is a natural hip hop reaction. It’s a perfectly adequate short term coping mechanism for living on this scary cock-eyed planet. Shut all those instincts off and listen to tracks 4,5, and 6 in a row. Four is single ready it is called Low Low and the horns are PERFECT, Aloe Blacc nails the hook with pinpoint accuracy and emotion while Choosey paints the scenery of a nice day with a pretty lady. Track five is Show You and Choosey is at his most melodic. The West Coast MC doesn’t need any help on the chorus sing-rapping a hook that burrows deep in my brain to this second. It’s a relationship song without the nasty baggage. He wants to show her what the future can be and never turns into the darker or condescending tones a lot of rappers do when trying for these songs. Track six is so great. You Got It is all hand claps and mixing while Choosey spits fast but seemingly effortlessly. Jimetta Rose is another fantastic guest singer woven into the fiber of the song. You Got It has a noble mission: to get you up and dancing. These three songs get to the heart of celebration that Black Beans is crafted around.

The candy lady verse that starts Satisfied is my favorite of the album because I am corny. It is so unexpected. The first line of the song is “Every hood had a candy lady,” said with a smiling nostalgia. He’s talking lollipops and getting candy out of her hand. Choosey’s mission is to celebrate his shared black and Hispanic heritage. Through the thirteen songs he applies his determination to painting the picture to it’s smallest detail. It’s not just about lowriders, Cadillac’s, and jewelry it is about the people. In that verse he also says “Them cop’s was all in our face saying ‘don’t hang with them bangers’ N_ the gang was the neighbors…” he doesn’t shy away from the violence and terror present in his environment. America knows gangs as large scary groups but Choosey knows them as people and sums it up our national tension quite nicely with, “They hate the fact but can’t deny that we some damn creators.” Choosey knows you think you know his hood. He also knows you haven’t felt the sunshine on your face there. You haven’t kissed for the first time as Salsa spilled out of an apartment window there. Listen to the song Sangria, pour sangria over some apples and cantaloupe (don’t forget diced pineapple) and let Exile teach you how to relax as Choosey brings you where he’s always been.

Stream or Download Black Beans below:

https://choosey.bandcamp.com/album/black-beans

 

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Sample Snitch: The exciting G Funk perfection of All Eyez On Me

Posted on September 14, 2018 | Leave a comment

Sample Snitch: The exciting G Funk perfection of All Eyez On Me

by Dan-O

All Eyez On Me is the best double album in the history of hip hop. That is not a hot take.  If you listen very carefully it is not the dark foreboding cryptic record Makaveli is perceived to be. It is fun and fully engages its female audience in a way we all keep saying “didn’t happen in the 90’s or really before Kanye/Drake”.  On Run Tha Streetz he actually starts a verse by giving women advice on how to keep “a playa” and this was NOT the norm. Even songs that may seem misogynistic are interesting to look at from a perspective analysis. Wonda Why They Call U B___ is maligned but think about the phrasing of it, the song is directed right at his female audience. When Too Short made songs about B’s he was talking to his homies, obviously male listeners, fellow pimps/hustlers that was his constituency. 2pac understood he had a deeper female fanbase than other rappers (possibly because of emotional/personal content in the past or songs with complex/empathetic female characters like in Can U Get Away off Me Against The World) .  He wanted to explain his logic to them so they would understand his perspective and he wanted to explain groupies to them on All About U.

The reason some of the depth gets lost is that this album slaps from front to back. If you look at the samples listing the source songs is the absolute best funk playlist of all time. Rather Be Ya N_ samples I’d Rather Be With You by Bootsy Collins. A song so legendary it has been sampled from 1991(N.W.A.-I’d Rather F*** You) through 2016 (Childish Gambino-Redbone).  The baseline from Never Gonna Stop by Linda Clifford is instantly recognizable not just as the backbone for the title track on this album but the meat of Nas-Street Dreams song off It Was Written. One of my favorite songs from All Eyez On Me was always Check Out Time because of how insane it was that I was listening to a song about my favorite rappers checking out of a hotel.  That sample is Candy Rain by Soul For Real who were a new jack swing act on Uptown Records alongside Heavy D & Guy. You’ll find multiple Roger Troutman and P-Funk samples. Whatz Ya Phone# pulls from a long crazy song by The Time called 777-9311. Darling Nikki is present on Heartz of Men, all of the music sampled moves at a legendary pace. 2pac wanted a party record that could double as his last will and testament.

He takes I Got My Mind Made Up (You Can Get It Girl) by Instant Funk and concocts the deeply meditative posse cut Got My Mind Made Up featuring Daz, Method Man, and Redman. No sleepy jazz samples or minimalism, All Eyez On Me is maximalist funk pulled through the Makaveli paranoid awareness.  When he wants to slow down he pulls the heartbreak right from the melody of Brandy by The O’Jays and infuses it in the chorus and content of Life Goes On. At an hour and ten minutes it is still supernaturally well-paced because the subtle groove of Life Goes On becomes the menacing braggadocio of Ain’t Hard 2 Find.  His words are magnificent but we shouldn’t forget the magic carpet of funk that brings him there.

Remember Curtis Mayfield helped produce this song

 

Slap the taste out of anyone who talks down to Bootsy…do it for hip hop.

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The case for Schoolboy Q as a top 3 lyricist in 2018

Posted on June 30, 2018 | Leave a comment

The case for Schoolboy Q as a top 3 lyricist in 2018

by Dan-O

I’m not doing the “he’s no Kool Moe Dee” all time argument with you Fuzzy Kangol Truthers. Save his place in history for later down the line right now we are talking about right now. The other thing to get out of the way is influence is not a factor. I don’t care that Trump did Hotline Bling on Saturday Night Live it doesn’t have anything to do with the power of the pen. Additionally, numbers don’t lie (they absolutely do) but they don’t have any bearing on this argument. That means this is subjective, right? Yes, not impossible.

Qualifying Criteria:

Consistency-People drive me nuts about this. Some MC’s are chasing the big moment and they always end up releasing terrible material eventually. Last year hip hop radio(looking at you Charlemagne) tried pushing the notion that Big Sean is one of the best MC’s in the game. Big Sean has two fabulous albums and two horrible ones. He is all over the place and I listen to everything he does. I like him but consistency matters, forethought matters. How many times you do you get to serve me a full bowl of wack and still be in the conversation?

Schoolboy Q is the opposite. Of his four albums he doesn’t have a disappointing one. All of them have different production identities, themes, and important lead singles that reflect Q at that stage of his career. As nasty and ready to turn on artists as Pitchfork is the last 3 albums scores Q has: 8.3, 7.8, and 8.4. If you are an album guy he consistently has got your back. If you don’t care about albums and just want the hits he feeds you Man of The Year, Studio, That Part, etc.

The four albums that are the core of TDE as an identity are probably: Kendrick- GKMC, Jay Rock-Follow Me Home, Schoolboy-Setbacks, Ab-Soul-Control System. Of those four artists Schoolboy is the only one who has kept pace with Kendrick in terms of albums you need to hear. Consistency isn’t about always working it’s about relentless careful smart work.

Content-John Muir(from Blank Face) has the most sumptuous neo-soul hook packed in against drug dealing at 14, close friends dying, danger closing in from all sides. The song is named after his high school and lasers in on that period. Meaningful content does not have to mean the smartest references or layered wordplay. The reason rappers always refer to their new album or song as a movie is because they want you , as the audience, to follow them through arc of the songs meaning. To the next one. Even  though Schoolboy knows people won’t pay that much attention the juxtaposition of the relaxing chorus and the ever present danger of verses is exactly the dichotomy of palm trees at 77 degrees and shocking violence that West Coast Gangsta Rap was built on. All of this to talk about and that is just one song. Schoolboy has a catalog that as you listen more each song gets deeper and gains meaningf. Q has struggled with addiction and let us hear it and now that he is beyond it (fingers crossed) we get even sharper bars. He builds every song on such a strong foundation he can add levels to it.

Durability-If you are a Schoolboy Q fan play this game with me. What is your favorite song? Pull it up on the tracklist of the album it is on. Is it the full throttle anthemic hip hop takeover Man Of The Year? If you are listening to the deluxe edition what is the next song? It’s the slow jangly mutilated but smooth (thanks to a brilliant hook performance by SZA) His & Her Fiend.  Schoolboy creates Juxtaposition everywhere. He places the crushingly personal John Muir before the bouncy West Coast celebration Big Body. His smoothest song Grooveline (with Dom Kennedy & Curren$y vibing out) comes right before his fire breathing dragon roar of a vocal performance on Gangsta in Designer (No Concept).  The juxtaposition creates tension yes but also dimension and he’s able to create that because he has tapped into the different facets of himself. Not to get too nerdy about this but if you go back to his 2009 mixtape Gangsta & Soul (You know my need to research forced my hand) his flow is totally different it is like listening to pre-Dre Eminem. He built this style and I appreciate his motor in refining it. His best album is his last album Blank Face.  Let’s talk more about this flow though…

Above & Beyond Attributes:

Tyson Flow-A knockout puncher has to make every connect count. Jabs just move the opponent to the right spot, Tyson was not even thinking about points on the scorecard. He was planting his victim in the right place for the right shot.That is how Schoolboy spits and always has. If you listen to the way his voice flings distasteful threats on the first verse of Dope Dealer from his 2016 album Blank Face  it is the same force he exerts on every line of Figg Get Da Money from 2011’s Setbacks.  Schoolboy says every word like a punk rock lead singer hitting their most jagged chorus.

Throw down mentality-The features on a Schoolboy Q album can get pretty interesting. Oxymoron Deluxe Edition(the only edition you should own) has Kendrick, 2 Chainz, Raekwon, Kurupt,SZA, Suga Free, Jay Rock, BJ The Chicago Kid, Tyler The Creator all along for the ride. Name another album that has 2 Chainz, Raekwon, and Suga Free spitting? The fearlessness in his flow has paid off to the point that Schoolboy fears none. This is where we say things like “being part of the best crew has given him the opportunity to be better as a lyricist,” I reject this. Ask Jae Millz how great his career growth has been behind Wayne, Dreezel Stillskin and the rest. It is HARD standing next to the dude who is considered the gold standard for bars. Q’s been doing it for ten years and gunning to a draw at the very least (I think he took Kendrick on Collard Greens) but he will throw bars with anyone and has. On Groovy Tony Jadakiss scorched the track so hard that Q added a whole other song behind the verse. He cares about the standard he has employed which is way more important than winning the song.

My conclusion is simple. I am not writing this because he has a new album coming and that could vault him into the “best in the game conversation” I hoped that this rant will prove he’s already there and this album will just be another leg of that journey.

 

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Mixtape review-41-P by Payroll Giovanni

Posted on June 13, 2018 | Leave a comment

Mixtape review-41-P by Payroll Giovanni

by Dan-O

Payroll Giovanni is my kind of MC. Mentally he is tougher than shark skin with a flow that can speedbag the beat to impressive levels. The other thing to love about the thirty year old rapper from Detroit is that he’s always working and its good smart work.  His new mixtape (41-P) is the second release of the year following Big Bossin Vol. 2 with master producer Cardo. This might sound crazy but this self-produced mixtape….sounds better.

While Cardo is one of my favorite rap producers ever he sets up landscapes that are vibey enough to get lost in. To say Payroll has an urgent flow would be a vast understatement.  He spits out these words as if he’s mad at the microphone and he needs production that pushes that rather than counters it. The great part is he knows, these beats are boldly propulsive enough to tell that story.

All you have to do is wait twenty seconds into the first track (41-P the title track) as he shifts into highway speed while the bass pounds. Not many rappers can move at this speed anymore, fast enough to be impressive but focused enough to be able to hear every syllable.  The next track is Invisible  which is beyond frustrated it is angry, dressing down obstacles the way a boss with a lot of balls in the air does.  Another big reason why I identify with Payroll is that like a productive boss he keeps an emotional distance that is a combination of painful personal losses creating defense and a self-help guru-like focus on winning as a hustler.

The chorus on Excuses is “Bosses make money and workers make excuses.” He expands on it throughout the song “I had to figure out the quickest route, I had to jump in the game get in & out I wasn’t in the house. I’m in the field not to kill but to make a deal but I’m clutching steel to protect what I’m tryin’ to build.” He’s all game face moving packs and reinvesting in his circle but he is not unaffected by the wear and tear. When he makes clear on Nothing Nothing that the women clutching at him on his way up are nothing….they aren’t nothing or the song wouldn’t have to be made.

Hypnotized is my favorite song because it is the closest to watching the boss crack. You can read Payroll as a sexist if you want for the wildly hostile manner in which he speaks about women throughout 41-P. I think he provides a valuable window into a damaged social environment; one where the most attractive girl in the room spots you not because of your attractiveness but because she is staring at your rolex and “can smell money on you”. You can’t blame her, as Americans we all want to get as close to wealth as we can. The hustle isn’t just real for the narrator. Being the subject of that faux-affection must be the most validating & insulting experience and it has to warp the man behind the gameface. In his verse Payroll wrestles over what sounds like All Eyez On Me era 2pac production pulled through modern trap sensibilities. “What’s a golddigger gonna do with me when I’ve been rocking platinum since I was 13. Girl I’m too much for you you ain’t too much for me. ” She can’t possibly sympathize with who he is or come at him as an equal in the relationship (not in his eyes).  In Interview he opens the door further by addressing direct questions in his song Interview. He talks Jeezy, indictments, beef, label changes & lays everything out quite frankly.   The ingredients are present in 41-P for a long career with better beats and music that can be even more meaningful. Boss life presents challenges I can’t wait to see him face.

P.S. I don’t want to leave the lingering impression that Payroll Giovanni is somehow Beast from Beauty and the Beast with all these romantic walls up waiting for the right one (see: Hypnotize explanation) . He seems to have proposed marriage this April to a woman the Detroit Metro Times describe as “Detroit hair mogul Kendra Parker.” I don’t know what being a hair mogul entails but it’s definitely her hustle and kudos to both of them for winning together.

Stream or download below:

http://www.datpiff.com/Payroll-Giovanni-4-1P-mixtape.898839.html

 

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Song Review-Mi Encanta by Husalah

Posted on May 2, 2018 | Leave a comment

Song Review-Mi Encanta by Husalah

by Dan-O

I love the new Husalah album H the way I love watching Jason Statham carve through the world in Transporter 2. It is a lot of fun and more than a bit silly.  He says bitch four or five times more than is logistically manageable (to say nothing of the long ethical debate) . He brags in ways that are so outlandish they are outstanding. Mi Encanta is the absolute height of giddy post-hyphy insanity. I wish I could find production credits the beat is amazing, the chorus is chanted very seriously in Spanish. The first verse is the stuff of legend. Husalah’s first spoken line after the chorus is “my life consists of getting kicks off, I get my kicks off soon as your wife sees me she tries to pull my dick off.” This leads into the line I ran around imitating for days after this album came out. He says “Husalah been out selling cocaine since I was a baby! Ask your bitch about me bitch I’m beautiful and gorgeous guns enormous.” The way in which he joyously extends out the words baby, gorgeous, and enormous just adds to the comical fantastitude of this cartoonishly unbelievable brag. The production is top notch Nuevo slap that kicks the energy up at all the right times and never falls below a Cadillac groove (the most Cadillac groove on H is Million Miles ). I could talk about how fun Husalah is for a long time but Mi Encanta is exactly what I needed in 2018. The charts are a post-apocalyptic landscape littered with sad junkie rap and overly righteous college kids talking down to their audience. Mi Encanta is bay area bounce with a Roger Corman movie attitude and an undeniable breath of fresh air.

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Song review-Goyard by Lil Debbie produced by Kid Class

Posted on February 10, 2018 | Leave a comment

Song review-Goyard by Lil Debbie produced by Kid Class

by Dan-O

I will be forgiven for not being all in on Lil Debbie when she popped. She came about during that big 2011 White Girl Mob mess that spawned V-Nasty & Kreayshawn.  She came in the game as a tiny white girl with a pronounced blacent (to be clear people grow up in different neighborhoods and if you are a tiny pretty white girl growing up in a culturally black environment I’m not mad if you pick up stuff, that outrage is not my perogative as I am a white dude from Maine).

The difference between Debbie and the rest is that she really picked up productivity. From 2013 till present day Lil Debbie has 6 ep’s and 2 studio albums. She teamed up with Atlanta based producer Kid Class for a new ep in salute of Fresh Prince/Jazzy Jeff entitled I’m The Rapper, He’s The Producer. For the first prolonged period of time (5 tracks) she is forced to adjust to different production. She’s spent her life eating off slapping bay area beats that did a lot of the work and this time things are different. The final product she’s able to craft is worthy of some real acknowledgement.

I did hear her get better over the course of years and her last album (2017’s OG In My System) has real bars (I distinctly remember hitting rewind on a verse attacking organized religion as a drug to pacify people).  I’m The Rapper, He’s Producer is a game of adjustments. On the first track Oxymoron she uses the Migos pinched breathing hook delivery to find the bounce, on Stunt she uses Southern rap style vocal doubling to good effect. She sways with these beats to stay in the flow of the production.

The high point is Goyard (which I just found out from the internet is a French tote bag that dates back to the 1800’s. She went to fashion school people.) This is like a great Wiz Khalifa song with hand claps and a hook held and pinched to make the autotune an essential part of the song.  Her flow has no more wrinkles left in it. You can say she’s not saying anything important and that argument has enough gray area to sink anyone BUT she spits. She is a monster on the chorus & bridge.  I could have easily done this review on the song after Goyard (Classic) which is warm and fun and cocky.  Her songs go.

Nothing makes me happier than when people I think suck prove I suck for doubting them. She gets it and has the right attitude when she says “You know I be super loaded off the OG blunts and Eddies, even let my haters hit it ain’t no time for being petty.” She played the long game after the hot takes cooled down.

 

 

 

 

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