Tuesday, March 4, 2014
Songs of the Day
Yay, starting a new album! Got the first four tracks up for review today: "Marilyn Monroe," "Brand New," "Hunter," and "Gush."
A little string intro is always a nice way to start off an album, especially when the track is named after bombshell "Marilyn Monroe." I've never known Pharrell to be an incredible lyricist (Seeing Sounds, anyone?), but his production skills make up for it. Really dig that the strings go into a funky groove - definitely gets down. Wouldn't take Pharrell to be the type to have a diary, or, if he did, start said diary with "dear diary," but whatever. He "just wants a different type of girl," which is cool, gotta give the normal ladies a chance. If only you weren't already taken... *snaps out of daydream* Anyway, the groove is definitely the strong point of this tune, and I can certainly get down with it. Gotta love a good groove.
Um ok, I can seriously get down with this "Brand New" groove, and the fact that my boo JT is on it only makes the track that much better! I also love that this is listed as a "Duet with Justin Timberlake," versus "featuring." Off the bat the groove reminds has a MJ "Workin Day n Night" feel to it that I really dig. Man, this is a tasty track! Love the single guitar line, and the horns (yummy) in the back, the percussion, the "doo doo"s in the background, the mother fucking BASS - it's all so funky! The way it mellows out after the chorus is great. Ok, this is my new jam!
So "Hunter" immediately reminds me of that INXS song "Need You Tonight," and I am totally ok with that. I like how minimal the beat is while remaining mad groovy. I knew I could count on Pharrell to get funky with it! "Duck Dynasty is cool n all/but they got nothin on a female's call/I'm a hunter" - oh you silly Pharrell, track is still dope tho. Like that it goes to the V chord just for a second, it breaks up what could have potentially felt like a somewhat monotonous groove. Dig it.
Of course "Gush" is keeping right along with the soul/funk groove - thank you, Pharrell! But I must say, you should be a little concerned if a girl lights her ass on fire...just saying, not the best thing to ask a female to do haha. I will get dirty with you though (as I'm sure maaaaaaany women would), so that is a fair question. I so was not expecting the strings B section, but I'm so down with it - it's a nice little switch up, especially how it blends back into the groove. Bass is holding it down. I dig it, I dig it, I fucking dig it.
A little string intro is always a nice way to start off an album, especially when the track is named after bombshell "Marilyn Monroe." I've never known Pharrell to be an incredible lyricist (Seeing Sounds, anyone?), but his production skills make up for it. Really dig that the strings go into a funky groove - definitely gets down. Wouldn't take Pharrell to be the type to have a diary, or, if he did, start said diary with "dear diary," but whatever. He "just wants a different type of girl," which is cool, gotta give the normal ladies a chance. If only you weren't already taken... *snaps out of daydream* Anyway, the groove is definitely the strong point of this tune, and I can certainly get down with it. Gotta love a good groove.
Um ok, I can seriously get down with this "Brand New" groove, and the fact that my boo JT is on it only makes the track that much better! I also love that this is listed as a "Duet with Justin Timberlake," versus "featuring." Off the bat the groove reminds has a MJ "Workin Day n Night" feel to it that I really dig. Man, this is a tasty track! Love the single guitar line, and the horns (yummy) in the back, the percussion, the "doo doo"s in the background, the mother fucking BASS - it's all so funky! The way it mellows out after the chorus is great. Ok, this is my new jam!
So "Hunter" immediately reminds me of that INXS song "Need You Tonight," and I am totally ok with that. I like how minimal the beat is while remaining mad groovy. I knew I could count on Pharrell to get funky with it! "Duck Dynasty is cool n all/but they got nothin on a female's call/I'm a hunter" - oh you silly Pharrell, track is still dope tho. Like that it goes to the V chord just for a second, it breaks up what could have potentially felt like a somewhat monotonous groove. Dig it.
Of course "Gush" is keeping right along with the soul/funk groove - thank you, Pharrell! But I must say, you should be a little concerned if a girl lights her ass on fire...just saying, not the best thing to ask a female to do haha. I will get dirty with you though (as I'm sure maaaaaaany women would), so that is a fair question. I so was not expecting the strings B section, but I'm so down with it - it's a nice little switch up, especially how it blends back into the groove. Bass is holding it down. I dig it, I dig it, I fucking dig it.
Monday, March 3, 2014
Album Factoids
G I R L
Released: March 3, 2014 (Today!)
Genre: Soul/Neo-Soul
Label: Columbia
Producer: Pharrell (duh)
Released: March 3, 2014 (Today!)
Genre: Soul/Neo-Soul
Label: Columbia
Producer: Pharrell (duh)
Week 91: Pharrell
Went on iTunes to try and figure out what album to do this week, and Pharrell's new record was right up front, so I figured "why not?" He's the biggest producer in the game right now (and has been for quite some time), definitely the top producer I want to work with at the moment, and I'm sure this album will show off all his talents. I'm an NERD fan, but this is the first of his solo records I've picked up ("Frontin" is still my jam tho), and I hope it shows some more of that soul that he's been bringing back into top 40. Leh do dis.
Tuesday, February 25, 2014
Final Grade: B+
You know, this record really wasn't half bad! I have definitely found myself having some of these songs stuck in my head over the last week, and I wasn't mad about it. Lorde is definitely mature for her age, or at least she projects that through her sound and lyrics - I forgot she was only a teenager the majority of the time. And she just won 2 Grammys! Like, what the fuck was I doing with myself when I was 17, sheesh?? I dig that this record has a alternative/synth sound, and isn't strictly the kind of pop you hear on the radio these days. It has an older flavor, while staying fresh. "Glory and Gore" is probably my favorite song, which makes sense seeing as it's the most out tune on the record. And even though Lorde doesn't have that great of a voice, it works for her style, and I can get down with that. Overall, pretty decent record. Good, I needed some new pop in my arsenal.
Songs of the Day
Final 3 tracks on deck for this last day Lorde reviewing: "Still Sane,""White Teeth Teens," and "A World Alone."
I must say, so far I've enjoyed this album, and "Still Sane" keeps that feeling going. "All work and no play never made lose it" is definitely a more positive message than the majority of the pop bs that's taken over the radio, so I'm down with it. Lorde's got this chill, synth vibe down, which I dig. This track is definitely more for chilling out versus rocking out, and being as short as it is (3:31), it comes and goes pretty quickly. Not a stand out tune, but still a cool one. Lorde's eeriness working for her yet again.
"White Teeth Teens" probably has one of the grooves I like the least on the record - doesn't really do much for me/ doesn't seem as fresh as the rest of them. It's still catchy tho, especially when the drumline-like snare comes in in the chorus. Are "white teeth teens" supposed to be rich because they have good dental hygiene? Not my favorite analogy, but I guess I get it. I like the layering of the vocals at the end of the track, it's probably my favorite part of the song. This one didn't do much for me, but it's not a bad track.
It's unfortunate that these last 3 tracks had to be my least favorite of the record, but that's how these things go sometimes. "A World Alone" is the least different-sounding track on the record, which is probably why I don't like it as much as the rest of the album. Given the title, it has a much happier feel to it than you would expect - sounds beachy. Interesting that a 17 year old is talking about raising a glass (not that I wasn't doing that at 17, you just forget that teens do shit that's illegal lol), but that kind of stuff has been mentioned many a time before on the record. The groove is catchy for sure (that's pop for you), I just don't think there's anything really special to it, same with the lyrics and everything. Just eh.
I must say, so far I've enjoyed this album, and "Still Sane" keeps that feeling going. "All work and no play never made lose it" is definitely a more positive message than the majority of the pop bs that's taken over the radio, so I'm down with it. Lorde's got this chill, synth vibe down, which I dig. This track is definitely more for chilling out versus rocking out, and being as short as it is (3:31), it comes and goes pretty quickly. Not a stand out tune, but still a cool one. Lorde's eeriness working for her yet again.
"White Teeth Teens" probably has one of the grooves I like the least on the record - doesn't really do much for me/ doesn't seem as fresh as the rest of them. It's still catchy tho, especially when the drumline-like snare comes in in the chorus. Are "white teeth teens" supposed to be rich because they have good dental hygiene? Not my favorite analogy, but I guess I get it. I like the layering of the vocals at the end of the track, it's probably my favorite part of the song. This one didn't do much for me, but it's not a bad track.
It's unfortunate that these last 3 tracks had to be my least favorite of the record, but that's how these things go sometimes. "A World Alone" is the least different-sounding track on the record, which is probably why I don't like it as much as the rest of the album. Given the title, it has a much happier feel to it than you would expect - sounds beachy. Interesting that a 17 year old is talking about raising a glass (not that I wasn't doing that at 17, you just forget that teens do shit that's illegal lol), but that kind of stuff has been mentioned many a time before on the record. The groove is catchy for sure (that's pop for you), I just don't think there's anything really special to it, same with the lyrics and everything. Just eh.
Songs of the Day
Three more tracks for today's review: "Buzzcut Season," "Team," and "Glory and Gore."
See, "Buzzcut Season" has the kind of four-on-the-floor that I can get down with - it grooves. This track definitely has a chill feel to it that's catchy. Another track that is very minimal production-wise, but works. It's easy to forget that Lorde was only 16 when she made this, which is pretty dope. This is all her and producer Joel Little, so major props.
"Team" goes in a little harder than the others so far, which I get down with. Though I don't think she has the best voice, it works with what she's going for, and it has it's own style. I can get into it. I'm not anything that really catches me lyrically, but the melody for the hook is catchy, which is the first thing people are going to catch onto.
I got into it at the beginning with "You been drinkin like the world was gonna end" Pretty cool lyric, and "Glory and Gore" is a pretty cool song. Like "Team," it goes in a little harder than some of the previous tracks, which I dig. The hook is pretty damn catchy too, "glory and gore go hand in hand, that's why we're making headlines" And ooooo the B section! So fucking cool! I love how it gets into that eerie minor feel - super dope. Might be my favorite song so far!
See, "Buzzcut Season" has the kind of four-on-the-floor that I can get down with - it grooves. This track definitely has a chill feel to it that's catchy. Another track that is very minimal production-wise, but works. It's easy to forget that Lorde was only 16 when she made this, which is pretty dope. This is all her and producer Joel Little, so major props.
"Team" goes in a little harder than the others so far, which I get down with. Though I don't think she has the best voice, it works with what she's going for, and it has it's own style. I can get into it. I'm not anything that really catches me lyrically, but the melody for the hook is catchy, which is the first thing people are going to catch onto.
I got into it at the beginning with "You been drinkin like the world was gonna end" Pretty cool lyric, and "Glory and Gore" is a pretty cool song. Like "Team," it goes in a little harder than some of the previous tracks, which I dig. The hook is pretty damn catchy too, "glory and gore go hand in hand, that's why we're making headlines" And ooooo the B section! So fucking cool! I love how it gets into that eerie minor feel - super dope. Might be my favorite song so far!
Friday, February 21, 2014
Songs of the Day
Got the first four tracks up for review today: "Tennis Court," "400 Lux," "Royals," and "Ribs."
"Tennis Court" is a cool track to open up with. I dig the spacey-ness of the beat while still having a pop feel to it. The hook is kind of dumb, namely the "we'll go down to the tennis court, and talk it up like yeah" part, but this is a pop album, so I was expecting that. Doesn't change the fact that I'll probably be singing that exact line for the rest of the evening. Lorde's voice doesn't do anything on this track that's particularly awesome, but she does her own style well, and that's what matters. Pretty decent track.
The 80s feel that "400 Lux" has is for sure something that I can get down with. I can totally see this song in a movie, it's got that kind of montage feel to it. Her vocals go well with the chill vibe, I wish there was a little more umph to the lyrics, but they're not bad either, so that's an improvement to about 90% of top 40. The hook is cute and catchy, I dig the "and I like you" repeated line. Some pretty chill shit.
At this point, we've all heard "Royals" a hundred times, but I still think it's a good track. Luckily for me, not listening to the radio keeps me from getting completely fed up with songs after two weeks, so I still dig this track. The minimalism of this song is really what makes it - just a chick and a some synth drum & bass, that's all you need sometimes. And of course we all love the harmonies, they help make the song. She did win two Grammy's for the song after all. I wonder if the 17 year old knew this song was going to completely change her life....
Totally dig the spacey, a cappella intro to "Ribs." I do wish it didn't come in with four-on-the-floor though, because it is so overused in today's pop music. Seriously, it's in every fucking song and it needs to stop. Otherwise, this track has some cool elements to it. Lorde's voice has a kind of eerie feel to it that sits well with the track. Probably my least favorite of the day, but still cool.
"Tennis Court" is a cool track to open up with. I dig the spacey-ness of the beat while still having a pop feel to it. The hook is kind of dumb, namely the "we'll go down to the tennis court, and talk it up like yeah" part, but this is a pop album, so I was expecting that. Doesn't change the fact that I'll probably be singing that exact line for the rest of the evening. Lorde's voice doesn't do anything on this track that's particularly awesome, but she does her own style well, and that's what matters. Pretty decent track.
The 80s feel that "400 Lux" has is for sure something that I can get down with. I can totally see this song in a movie, it's got that kind of montage feel to it. Her vocals go well with the chill vibe, I wish there was a little more umph to the lyrics, but they're not bad either, so that's an improvement to about 90% of top 40. The hook is cute and catchy, I dig the "and I like you" repeated line. Some pretty chill shit.
At this point, we've all heard "Royals" a hundred times, but I still think it's a good track. Luckily for me, not listening to the radio keeps me from getting completely fed up with songs after two weeks, so I still dig this track. The minimalism of this song is really what makes it - just a chick and a some synth drum & bass, that's all you need sometimes. And of course we all love the harmonies, they help make the song. She did win two Grammy's for the song after all. I wonder if the 17 year old knew this song was going to completely change her life....
Totally dig the spacey, a cappella intro to "Ribs." I do wish it didn't come in with four-on-the-floor though, because it is so overused in today's pop music. Seriously, it's in every fucking song and it needs to stop. Otherwise, this track has some cool elements to it. Lorde's voice has a kind of eerie feel to it that sits well with the track. Probably my least favorite of the day, but still cool.
Wednesday, February 19, 2014
Album Factoids
Pure Heroine
Released: September 27, 2013
Genre: Pop
Label: Universal
Producer: Joel Little
Released: September 27, 2013
Genre: Pop
Label: Universal
Producer: Joel Little
Week 90: Lorde
Ay dios mio, we're at 90 (+ all the other weeks I wasn't productive with
this)! I decided to continue on with newer talent and decided to
review Lorde's Pure Heroine. I only know of "Royals," which is
pretty damn catchy, but I've heard good things about the album. I also
(at my own accord) don't pay much attention to current top 40 music, but
I figured what the hell, the chick seems weird and she just won 2
Grammy's... I'll get my pop on. I'm late, but whatever.
Monday, February 17, 2014
Final Grade: A-/B+
I thoroughly enjoyed Acid Rap. Chance's flow is very unique, and he doesn't rap about stupid shit all the time, which is quite refreshing in this age of hip hop. "Juice" is definitely my favorite track, which is only slightly disappointing since it's the first song I heard off the album, but it's a dope track regardless. I think a little more time and seasoning will definitely result in Chance being a big player in the rap game, and this album is a dope start to that. Will definitely continue listening to this album.
Saturday, February 15, 2014
Songs of the Day
Late night blogging, cuz that's how I roll. Got the final three tracks to knock out this evening: "Acid Rain," "Chain Smoker," and "Everything's Good (Good Ass Outro)."
Off the bat, I dig the vibe of "Acid Rain," which I would hoping coming from the track that most closely shares the name of the title. Nothing's particularly crazy about Chance's flow or lyrics on this track, but the beat definitely let's you groove with him. I dig the quoting of R. Kelly's melody on "The World's Greatest," took me a second to remember what song he was referencing exactly - a cool groove to go back to. Solid track.
Honestly, "Chain Smoker" is probably my least favorite track on the album. Neither the beat or Chance's flow are doing anything for me. And it's really not all that bad considering that I don't really dislike the track, it's just not up to far with the rest of the album. I also find the hook annoying, which isn't something that you generally want lol. Ok track, nothing incredible.
I think my favorite part of "Everything's Good (Good Ass Outro)" is the way that Chance says "Dillaaaaa" in his first line - a good way to start off. The voicemail in the beginning definitely reminds me of Kendrick's good kid, m.A.A.d city, which is probably some kind of nod. Dig the jazzy feel to the track, especially with the trumpet and the upright bass. Going back into the "Good Ass Intro" groove is a nice tie in for the whole shebang. Solid.
Off the bat, I dig the vibe of "Acid Rain," which I would hoping coming from the track that most closely shares the name of the title. Nothing's particularly crazy about Chance's flow or lyrics on this track, but the beat definitely let's you groove with him. I dig the quoting of R. Kelly's melody on "The World's Greatest," took me a second to remember what song he was referencing exactly - a cool groove to go back to. Solid track.
Honestly, "Chain Smoker" is probably my least favorite track on the album. Neither the beat or Chance's flow are doing anything for me. And it's really not all that bad considering that I don't really dislike the track, it's just not up to far with the rest of the album. I also find the hook annoying, which isn't something that you generally want lol. Ok track, nothing incredible.
I think my favorite part of "Everything's Good (Good Ass Outro)" is the way that Chance says "Dillaaaaa" in his first line - a good way to start off. The voicemail in the beginning definitely reminds me of Kendrick's good kid, m.A.A.d city, which is probably some kind of nod. Dig the jazzy feel to the track, especially with the trumpet and the upright bass. Going back into the "Good Ass Intro" groove is a nice tie in for the whole shebang. Solid.
Friday, February 14, 2014
Songs of the Day
Three more tracks up for review today: "Favorite Song," "NaNa," and "Smoke Again."
"Favorite Song" is definitely a good start to the day. Love the Betty Wright slowed down sample, makes for a super chill beat with a cool reggae feel to it. I haven't familiarized myself with a lot Childish Gambino's material, so it's dope to hear him on this track. His flow goes well with Chance's, so it makes for a nice collaboration. Nothing particularly awesome lyric-wise, but still a fun song to listen to.
"NaNa" goes right along with the chill vibe going on thus far, especially with the Jack Wilkins sample. I instantly recognized it from Tribe's use of it on "Sucka Nigga" on Midnight Marauders. It's dope that Chance was able to bring this sample back without it sounding just like Tribe track. I'm not the biggest fan of Action Bronson's flow on this track, but it's not completely bothersome. I'd have to hear him on his own material. I also can't really understand a lot of what Chance is saying on this one, but it's not the worst thing. The "nanana nanana" hook is amusing, not all that. Chill song.
Normally the fake horn sound on the "Smoke Again" beat would distract me too much, but luckily the other elements of the groove make up for it. Being the last track of the day, I was kind of hoping for more of an upbeat track, but in the context of the album it works to keep things chill. "Let me put my mouth where you potty, boo" isn't exactly the, um, sexiest way to say things...sounds like Ab-Soul is trying to eat her poop, and that's gross. Safe to say, this isn't my favorite track lyrically (nothing today has been super mind-blowing), but if you're high and tune it out, it's a chill tune to listen to.
"Favorite Song" is definitely a good start to the day. Love the Betty Wright slowed down sample, makes for a super chill beat with a cool reggae feel to it. I haven't familiarized myself with a lot Childish Gambino's material, so it's dope to hear him on this track. His flow goes well with Chance's, so it makes for a nice collaboration. Nothing particularly awesome lyric-wise, but still a fun song to listen to.
"NaNa" goes right along with the chill vibe going on thus far, especially with the Jack Wilkins sample. I instantly recognized it from Tribe's use of it on "Sucka Nigga" on Midnight Marauders. It's dope that Chance was able to bring this sample back without it sounding just like Tribe track. I'm not the biggest fan of Action Bronson's flow on this track, but it's not completely bothersome. I'd have to hear him on his own material. I also can't really understand a lot of what Chance is saying on this one, but it's not the worst thing. The "nanana nanana" hook is amusing, not all that. Chill song.
Normally the fake horn sound on the "Smoke Again" beat would distract me too much, but luckily the other elements of the groove make up for it. Being the last track of the day, I was kind of hoping for more of an upbeat track, but in the context of the album it works to keep things chill. "Let me put my mouth where you potty, boo" isn't exactly the, um, sexiest way to say things...sounds like Ab-Soul is trying to eat her poop, and that's gross. Safe to say, this isn't my favorite track lyrically (nothing today has been super mind-blowing), but if you're high and tune it out, it's a chill tune to listen to.
Wednesday, February 12, 2014
Songs of the Day
Got tracks 5-7 on deck for today's review: "Lost," "Everybody's Something," and "Interlude (That's Love)." So far, this album is pretty dope, so I'm glad these tracks follow suit. "Lost" has a laid back groove to it that allows Chance's flow to really sit in it. "Her pussy like me/ her heart like 'fuck it'," ugh that's too real though. I'm definitely getting down with his style. Now, I'm down that there's a female emcee featured on this, I'm not the biggest fan of Noname Gypsy's flow. I don't know if I can pin point it exactly, but it just sounds a little lazy or something. She spits well, just not my favorite tamber. Regardless, cool tune to chill to.
I already knew that I was gonna get down with "Everybody's Something" when it opened with some "Fall in Love," but it's produced in a heavier way that makes it its own beat. Dig. Something about Chance's flow on this reminds me of early Eminem, which I am certainly down. Love the hook, "everybody's somebody's everything/ nobody's nothin" :) Saba's verse is cool, I like his flow. This one is a cool groove to sit into. Thumbs up.
Well, "Interlude (That's Love)" is getting listened to just in time for Valentine's Day with all it's lovey-dovey-ness. I must say, you don't hear too many rappers talking about how love is greater than drugs, poppin bottles, and all those other flagrant, unrelatable shit you hear about in rap songs these days. While it fits with the message of the tune, the groove is the tiniest bit corny to me (probably all the major), but I like that it picks up towards the end. Very sweet.
I already knew that I was gonna get down with "Everybody's Something" when it opened with some "Fall in Love," but it's produced in a heavier way that makes it its own beat. Dig. Something about Chance's flow on this reminds me of early Eminem, which I am certainly down. Love the hook, "everybody's somebody's everything/ nobody's nothin" :) Saba's verse is cool, I like his flow. This one is a cool groove to sit into. Thumbs up.
Well, "Interlude (That's Love)" is getting listened to just in time for Valentine's Day with all it's lovey-dovey-ness. I must say, you don't hear too many rappers talking about how love is greater than drugs, poppin bottles, and all those other flagrant, unrelatable shit you hear about in rap songs these days. While it fits with the message of the tune, the groove is the tiniest bit corny to me (probably all the major), but I like that it picks up towards the end. Very sweet.
Monday, February 10, 2014
Songs of the Day
Got the first four tracks on deck for review this lovely evening: "Good Ass Intro," "Pusha Man," "Cocoa Butter Kisses," and "Juice." I must say, "Good Ass Intro" is aptly named! Definitely a dope way to start the album. I love the combination of the church choir feel that continues to pile style on top of style - layers are cool. And when the drums drop and horns come in - me gusta mucho! Chance's flow/sound is something that comes off as harsh (somewhat of a Lil Wayne tamber), but it takes about point five seconds to get over - he uses the melody of his flow to smooth it out. There are about a million people featured on this track, and I wish they were easier to decipher from one another, 'cause it would be cool to give credit exactly where credit is due. But to
BJ The Chicago Kid, Lili K., Kiara Lanier, Peter Cottontale, Will for
the O'mys, & JP Floydd for Kids These Days, yall helped create a funky opener.
Thankfully, "Good Ass Intro" wasn't just a fluke, "Pusha Man" falls right into the goodness. The beat for this track is dope, different from other hip hop tracks. And even though he's saying shit like "she has blisters on her knees," you know, because she wants the d, he somehow manages to produce it in a way that still keeps you interested in the song. Nice lil fake-out end to come back with a new track, of which has an equally cool, if not cooler beat. I like how spacey and out there is sounds (definitely would go well with a certain substance teehee). "Somebody will steal daddy's role-y, and call it neighborhood watch" - so dope. Chance's unique flow really makes you get into his tracks - I dig it.
"Cocoa Butter Kisses" picks up on the church grind that "Intro" started with - a good feel to get back on. Again, it's contrasted with some heavier drums, which I find to be a cool juxtaposition. I would just like to say that I am down with any rapper that's gonna reference the Rugrats, that's just too cool. I love the imagery of "I miss my cocoa butter kisses" - it evokes the very image. And Twistaaaaaa! Where have you been, my dude?? So dope to hear this (fast) rapper back on something, and of course he does not disappoint.
I was excited to get another listen to "Juice," it definitely had me from the start. The simplicity of this beat really intrigues me, definitely on some "less is more" shit. OMFG I'm just realizing the sample is "Jealous Guy" by Donny Hathaway off of Donny Hathaway Live, which I not only reviewed, but it's my favorite track on the album! Ugh, my love for this song just increased for much! The whole thing has this swinging/swaying kind of feel going on that makes it super easy to listen to and just get lost in. Completely understandable as to why this was the single. Too many lines to isolate. I dig this so hard.
Thankfully, "Good Ass Intro" wasn't just a fluke, "Pusha Man" falls right into the goodness. The beat for this track is dope, different from other hip hop tracks. And even though he's saying shit like "she has blisters on her knees," you know, because she wants the d, he somehow manages to produce it in a way that still keeps you interested in the song. Nice lil fake-out end to come back with a new track, of which has an equally cool, if not cooler beat. I like how spacey and out there is sounds (definitely would go well with a certain substance teehee). "Somebody will steal daddy's role-y, and call it neighborhood watch" - so dope. Chance's unique flow really makes you get into his tracks - I dig it.
"Cocoa Butter Kisses" picks up on the church grind that "Intro" started with - a good feel to get back on. Again, it's contrasted with some heavier drums, which I find to be a cool juxtaposition. I would just like to say that I am down with any rapper that's gonna reference the Rugrats, that's just too cool. I love the imagery of "I miss my cocoa butter kisses" - it evokes the very image. And Twistaaaaaa! Where have you been, my dude?? So dope to hear this (fast) rapper back on something, and of course he does not disappoint.
I was excited to get another listen to "Juice," it definitely had me from the start. The simplicity of this beat really intrigues me, definitely on some "less is more" shit. OMFG I'm just realizing the sample is "Jealous Guy" by Donny Hathaway off of Donny Hathaway Live, which I not only reviewed, but it's my favorite track on the album! Ugh, my love for this song just increased for much! The whole thing has this swinging/swaying kind of feel going on that makes it super easy to listen to and just get lost in. Completely understandable as to why this was the single. Too many lines to isolate. I dig this so hard.
Album Factoids
Acid Rap
Released: April 30, 2013 (smh, I'm late)
Genre: Rap
Label: Self-released (I think this is a first for the blog!)
Producer: Petter Cottontale, Cam, Stefan Ponce, Ceej for Two9, Nosaj Thing, Nate Fox, DJ Ozone, Ludwig Gorransen, brandUn DeShay, Blended Babies, Jake One
Released: April 30, 2013 (smh, I'm late)
Genre: Rap
Label: Self-released (I think this is a first for the blog!)
Producer: Petter Cottontale, Cam, Stefan Ponce, Ceej for Two9, Nosaj Thing, Nate Fox, DJ Ozone, Ludwig Gorransen, brandUn DeShay, Blended Babies, Jake One
Week 89: Chance the Rapper
So, I am determined to finish this blog before I graduate college, and considering I have 12 weeks and 12 albums left, it's looking like I need to get back on my ass! Aight, anyway, for week 89 (really, it's like week 300 at this point) I've decided to finally check out Chance the Rapper. I've been hearing dope shit about Acid Rap, and I watched the "Juicy" video yesterday and figured it was about damn time I really look this dude up. I know, I know, I'm late, I guess I was still on a Kendrick high. Time for some new rap in my life (in addition to, not in replace of), it's about time.
Friday, November 22, 2013
Final Grade: C (maybe even a C-)
Man...this album sucks. It sucks so much that it I only had 1 more day of songs left and put it off for a month and a half. Anyone who knows me knows that I loooooove me some JT, and have since I was 6 years old, but baby... baby... why? While Pt 1 wasn't his best album, it was still pretty dope, whereas this one is essentially all of the cuts that didn't make Pt 1. There's a reason they didn't make the cut, because they're lame. There are literally 2 songs I like on this album - "Take Back the Night," and "Drink You Away." "Cabaret" has a super dope beat, but the lyrics are dumb as fuck. "True Blood" what a dumb fucking song. I don't even want to get too much deeper into why this album is so dumb, because it just makes me so mad that my love (no pun intended) would do me so wrong like this. Just oh so wrong. Bad, JT, bad.
Songs of the Day (a month and a half later...)
I was so bored with this album, that I forgot to finish reviewing it. So here are the last tracks: "You Got It On," "Amnesia," "Only When I Walk Away," and "Not a Bad Thing."
"You Got It On" isn't all that bad, but there's nothing about it that really grabs me. The beat is cool, but that's what Timbaland does. JT sounds good, as per usual, but yet again, the lyrics really aren't doing anything for me. "You don't gotta worry about what you wear tonight/ baby you got it...on" - ok, I get it, he's saying his lady is so fly that it doesn't matter what she's wearing, but I don't know...something about the placement, or how he sings it, it's just not as sexy as I would hope for it to be. The beat doesn't change much throughout the track, so it gets a little boring. The string ending is kind of nice, but not really necessary... but I get it because it goes into the string intro of "Amnesia." This beat is okay, not the best on the album, not the worst, just okay. JT's harmonies are nice, and I'm always a sucker for harmonies, so that's a couple positive points. I was really hoping that the chorus would pack a little more of a punch, but it just kind of happens and you're like "oh...this is the chorus?" Luckily the beat does grow as the song goes on, as do the harmonies, which help bring the song up. I almost feel like the mix is a little off on this one and would have benefited if the instrumentation was brought up a little bit, and JT was brought down a tad. Now, had the song stopped and not gone into this lame B section, I would be down with this track, but noooooo, had to make the last 2 minutes into some wannabe eerie shit. Also, the way JT sings "fuckin amnesia" is slightly off putting. The strings are unnecessary. Shoulda quit while you were ahead, boo. "Only When I Walk Away"... I haven't been able to decide whether or not I like this track. It's definitely different from the other tracks, which is cool, and I dig the guitar/rock sound going on here. I guess it's the vocal effect I'm not sure about. It works with the track, but it kind of takes away from JT's vocals. The concept of only loving someone when they walk away is a good idea, I definitely know that feeling. It's a heavier track than the rest of them, which I like. The B section...is okay, but again, unnecessary (especially since it's mainly instrumental). AND THEN YOU HAVE TO DO A C SECTION (no babies). Completely unnecessary. And is there anything more overused than blow horns? No. Why can't these dudes just stop while they're ahead???? Stop it. "Not a Bad Thing" is, unfortunately, a bad thing. Everything about this track is so corny. I thought you left your boy band days for a reason, boo? This opening section is way to major...and lame. Yes, it's a love song, but c'mon JT, you've done so much better! I'm trying to pay attention, but it's just so...lame. AND WHY IS THIS OVER 11 MINUTES LONG?! The acoustic guitar thing is nice, but completely unnecessary. And why are you talking about "flying on a big ol pair of wings?" Wackness. JT, why you gotta do this to me, baby??
"You Got It On" isn't all that bad, but there's nothing about it that really grabs me. The beat is cool, but that's what Timbaland does. JT sounds good, as per usual, but yet again, the lyrics really aren't doing anything for me. "You don't gotta worry about what you wear tonight/ baby you got it...on" - ok, I get it, he's saying his lady is so fly that it doesn't matter what she's wearing, but I don't know...something about the placement, or how he sings it, it's just not as sexy as I would hope for it to be. The beat doesn't change much throughout the track, so it gets a little boring. The string ending is kind of nice, but not really necessary... but I get it because it goes into the string intro of "Amnesia." This beat is okay, not the best on the album, not the worst, just okay. JT's harmonies are nice, and I'm always a sucker for harmonies, so that's a couple positive points. I was really hoping that the chorus would pack a little more of a punch, but it just kind of happens and you're like "oh...this is the chorus?" Luckily the beat does grow as the song goes on, as do the harmonies, which help bring the song up. I almost feel like the mix is a little off on this one and would have benefited if the instrumentation was brought up a little bit, and JT was brought down a tad. Now, had the song stopped and not gone into this lame B section, I would be down with this track, but noooooo, had to make the last 2 minutes into some wannabe eerie shit. Also, the way JT sings "fuckin amnesia" is slightly off putting. The strings are unnecessary. Shoulda quit while you were ahead, boo. "Only When I Walk Away"... I haven't been able to decide whether or not I like this track. It's definitely different from the other tracks, which is cool, and I dig the guitar/rock sound going on here. I guess it's the vocal effect I'm not sure about. It works with the track, but it kind of takes away from JT's vocals. The concept of only loving someone when they walk away is a good idea, I definitely know that feeling. It's a heavier track than the rest of them, which I like. The B section...is okay, but again, unnecessary (especially since it's mainly instrumental). AND THEN YOU HAVE TO DO A C SECTION (no babies). Completely unnecessary. And is there anything more overused than blow horns? No. Why can't these dudes just stop while they're ahead???? Stop it. "Not a Bad Thing" is, unfortunately, a bad thing. Everything about this track is so corny. I thought you left your boy band days for a reason, boo? This opening section is way to major...and lame. Yes, it's a love song, but c'mon JT, you've done so much better! I'm trying to pay attention, but it's just so...lame. AND WHY IS THIS OVER 11 MINUTES LONG?! The acoustic guitar thing is nice, but completely unnecessary. And why are you talking about "flying on a big ol pair of wings?" Wackness. JT, why you gotta do this to me, baby??
Tuesday, October 8, 2013
Songs of the Day
So, another okay day for Mr. Timberlake. I reviewed tracks 4-7 for today: "TKO," "Take Back the Night," "Murder," and "Drink You Away."
"TKO" is definitely one of the better overall songs on the album, but it still doesn't amount to much. The beat is pretty cool, but that doesn't really seem to be the problem on this album. The lyrics yet again succumb to being sub par. Starting off with Timbaland saying "she kill me with that coochie coo" is just all kinds of whack... is that supposed to be sexy? Timbaland, have you ever referred to a woman's vagina as a "coochie coo?" If yes, how did said female respond, because I would love to know. Though these lyrics aren't nearly as bad as "True Blood," the play by play of how this girl is "knocking him out" is a little lame. "I'm out for the count, yeah girl you knock me out" - like I said, it's a little lame. The stripped down breakdown at the end is okay, but it's not really giving me anything extra (even though it sounds like they were really tryna give me a little extra). Overall, a pretty decent song. If I just listen to it and don't pay too much attention, I'll get down to it.
See, when I first heard "Take Back the Night" (which was the first single off the album) I was super excited because I figured that the whole part 2 was going to go with this old school, dance vibe they've got going on here. I think they would have had much better results had the rest of the album kept with this kind of vibe. This song is definitely the best song on the album, especially as a whole. The groove is super tight, and the lyrics are actually not dumb. Not to mention the horns are all kinds of funky. Love the "and the horns say -" got em breakin down n shit. I really love this song, it's super funky and is right up my alley. If only the rest of the album were like this...
"Murder" is probably the most lackluster track of the day. The beat is decent, but nothing new or fresh (especially from Timbaland). Again, nothing great with the lyrics going on. I feel like girls being "murder" or "killin the game" is played out ("Poison," anyone?), and he could have done some fresher shit. Probably would have enhanced the beat had the lyrics been better. I'm sure this will be a single simply because Jay-Z is on it (even if he's talking about Yoko Ono's vagina... no thank you). Pretty lame verse, Jay. The breakdown would have been cooler if Timbaland had just kept his mouth shut. Honestly, this song doesn't do much for me. Both times I listened to it, I got distracted and stopped paying attention. Still not paying attention...
Thankfully, the day is saved by the final song, "Drink You Away." Aside from "Take Back the Night," this track is the only other song I like as a full package on this album. It's got this blues/rock thing goin on that I like. I'm always a sucker for some good organ, and it has been provided on this track. It's simple, and has a simple lyrical content - "I can't drink you away." Now how many times have people felt that way? "Don't they make a medicine for heartbreak?" Baby, I been askin myself the same damn question my whole damn life. The harmonies are on point. JT is sounding really good on this one too, standing out more than on the majority of the other tracks. I equate this as being the "That Girl" of part 2, which is a good thing, because that was definitely one of the best off part 1. Sometimes simplicity is best... you hear that JT?
"TKO" is definitely one of the better overall songs on the album, but it still doesn't amount to much. The beat is pretty cool, but that doesn't really seem to be the problem on this album. The lyrics yet again succumb to being sub par. Starting off with Timbaland saying "she kill me with that coochie coo" is just all kinds of whack... is that supposed to be sexy? Timbaland, have you ever referred to a woman's vagina as a "coochie coo?" If yes, how did said female respond, because I would love to know. Though these lyrics aren't nearly as bad as "True Blood," the play by play of how this girl is "knocking him out" is a little lame. "I'm out for the count, yeah girl you knock me out" - like I said, it's a little lame. The stripped down breakdown at the end is okay, but it's not really giving me anything extra (even though it sounds like they were really tryna give me a little extra). Overall, a pretty decent song. If I just listen to it and don't pay too much attention, I'll get down to it.
See, when I first heard "Take Back the Night" (which was the first single off the album) I was super excited because I figured that the whole part 2 was going to go with this old school, dance vibe they've got going on here. I think they would have had much better results had the rest of the album kept with this kind of vibe. This song is definitely the best song on the album, especially as a whole. The groove is super tight, and the lyrics are actually not dumb. Not to mention the horns are all kinds of funky. Love the "and the horns say -" got em breakin down n shit. I really love this song, it's super funky and is right up my alley. If only the rest of the album were like this...
"Murder" is probably the most lackluster track of the day. The beat is decent, but nothing new or fresh (especially from Timbaland). Again, nothing great with the lyrics going on. I feel like girls being "murder" or "killin the game" is played out ("Poison," anyone?), and he could have done some fresher shit. Probably would have enhanced the beat had the lyrics been better. I'm sure this will be a single simply because Jay-Z is on it (even if he's talking about Yoko Ono's vagina... no thank you). Pretty lame verse, Jay. The breakdown would have been cooler if Timbaland had just kept his mouth shut. Honestly, this song doesn't do much for me. Both times I listened to it, I got distracted and stopped paying attention. Still not paying attention...
Thankfully, the day is saved by the final song, "Drink You Away." Aside from "Take Back the Night," this track is the only other song I like as a full package on this album. It's got this blues/rock thing goin on that I like. I'm always a sucker for some good organ, and it has been provided on this track. It's simple, and has a simple lyrical content - "I can't drink you away." Now how many times have people felt that way? "Don't they make a medicine for heartbreak?" Baby, I been askin myself the same damn question my whole damn life. The harmonies are on point. JT is sounding really good on this one too, standing out more than on the majority of the other tracks. I equate this as being the "That Girl" of part 2, which is a good thing, because that was definitely one of the best off part 1. Sometimes simplicity is best... you hear that JT?
Tuesday, October 1, 2013
Songs of the Day
So I've got the first three tracks up for review today: "Gimme What I Don't Know (I Want)," "True Blood," and "Cabaret." Gotta say, definitely not the kind of punch part 1 came out with.
"Gimme What I Don't Know (I Want)" is a fairly decent tune. The groove is really cool, I definitely can get down with this melting pot of styles Timbaland's got going on here. I think the problem here (that I have unfortunately noticed throughout the album) is that the groove is a shit-ton better than the lyrical content going on. The whole animal/jungle motif going on here is kind of corny, enough to be distracting. That being said, this is one of the better grooves on the album, so I can get behind that. I'll get down to it.
Now, I could get down with some of the longer tracks on part 1, but I cannot get behind "True Blood" clocking it at NINE MINUTES AND THIRTY-ONE SECONDS, because this song is whack. The beat is ok, I'll dance to it at the club, but the lyrics are ass. First of all, it's got a werewolf/vampire theme going on... I thought we were over that fad? JT, baby, you're a little late. And the opening line of the chorus, my god, "she's got that true blood, every time you're around I can smell it on you." I swear, if I didn't know any better, I would swear homie was talking about his girls period. The melody's dumb too. So is the "ha ha ha" part (not necessary). Did I mention that this song is almost 10 minutes long? Of a sub par beat with mediocre lyrics. It sounds like he was trying to go in a kind of "Thriller" direction (which it is nowhere even close to being)...baby, you're not MJ, sit down. And why is this song second?? You know what was track two on part 1? "Suit & Tie." Now that is a song deserving of the number 2 spot. Can't even be redeemed with the breakdown after SEVEN minutes. This is ass. Ok, I'm gonna stop now, because the sheer stupidity of this song makes me mad.
"Cabaret" redeems...a little bit. The beat is fat, my favorite of the day, but (again) the lyrics really aren't anything. I feel like he could have gotten away with the same message without calling it a "Cabaret." I like everything else about the song, the melody is really dope and JT sounds good, I just can't really get past the lyrics. I wish they would rewrite this one, kind of seems like a waste of a really good beat. The Drake (who is not listed as featured in the title) verse isn't half bad, but they I think he could have gotten someone better. I wish they didn't switch up the beat at the end, it sounds too mainstream hip hop (in the whack way, not the "Chop Me Up" from Futuresex/Lovesounds kind of way).
So, overall, today was just aight.
"Gimme What I Don't Know (I Want)" is a fairly decent tune. The groove is really cool, I definitely can get down with this melting pot of styles Timbaland's got going on here. I think the problem here (that I have unfortunately noticed throughout the album) is that the groove is a shit-ton better than the lyrical content going on. The whole animal/jungle motif going on here is kind of corny, enough to be distracting. That being said, this is one of the better grooves on the album, so I can get behind that. I'll get down to it.
Now, I could get down with some of the longer tracks on part 1, but I cannot get behind "True Blood" clocking it at NINE MINUTES AND THIRTY-ONE SECONDS, because this song is whack. The beat is ok, I'll dance to it at the club, but the lyrics are ass. First of all, it's got a werewolf/vampire theme going on... I thought we were over that fad? JT, baby, you're a little late. And the opening line of the chorus, my god, "she's got that true blood, every time you're around I can smell it on you." I swear, if I didn't know any better, I would swear homie was talking about his girls period. The melody's dumb too. So is the "ha ha ha" part (not necessary). Did I mention that this song is almost 10 minutes long? Of a sub par beat with mediocre lyrics. It sounds like he was trying to go in a kind of "Thriller" direction (which it is nowhere even close to being)...baby, you're not MJ, sit down. And why is this song second?? You know what was track two on part 1? "Suit & Tie." Now that is a song deserving of the number 2 spot. Can't even be redeemed with the breakdown after SEVEN minutes. This is ass. Ok, I'm gonna stop now, because the sheer stupidity of this song makes me mad.
"Cabaret" redeems...a little bit. The beat is fat, my favorite of the day, but (again) the lyrics really aren't anything. I feel like he could have gotten away with the same message without calling it a "Cabaret." I like everything else about the song, the melody is really dope and JT sounds good, I just can't really get past the lyrics. I wish they would rewrite this one, kind of seems like a waste of a really good beat. The Drake (who is not listed as featured in the title) verse isn't half bad, but they I think he could have gotten someone better. I wish they didn't switch up the beat at the end, it sounds too mainstream hip hop (in the whack way, not the "Chop Me Up" from Futuresex/Lovesounds kind of way).
So, overall, today was just aight.
Monday, September 30, 2013
Album Factoids
The 20/20 Experience - 2 of 2
Released: September 30, 2012
Genre: Pop/Soul
Label: RCA
Producers: Timbaland, J-Roc, Daniel Jones, Rob Knox, JT
Released: September 30, 2012
Genre: Pop/Soul
Label: RCA
Producers: Timbaland, J-Roc, Daniel Jones, Rob Knox, JT
Week 88: The 20/20 Experience - 2 of 2
So, this is obviously my choice for this week seeing as I already
reviewed part 1. And seeing as I love JT. The first one was pretty
good, not as good as Futuresex/Lovesounds, but still had some really
good songs on it. None of them really had that power hit flavor to them
like he's had on previous albums, so I hope that there are a couple
serious bangers on this one. Regardless, I'm sure with this unbreakable
JT/Timbaland team, there's bound to be some good good on here.
Thursday, July 11, 2013
Final Grade: C
Needless to say, I didn't like this album. It was arrogant for all of the wrong reasons, without the lyrics or beats to back it up. I wish he hadn't ruined "Black Skinhead" for me when he paired it with images of men in KKK hoods on the jumbotron at his concert, because I would actually like that song otherwise. Now I just get a bad taste in my mouth when I hear it. The last song, "Bound 2" is pretty good too, but that's about as far as I go with this one. I don't find this album visionary, I don't think he's starting some new big thing (as I'm sure he believes he has). The beats were loud, cluttered, and lacking of substance. Where the fuck am I supposed to listen to this album, anyway? I don't see how this fits contextually into any setting of my life. That being said, I'm sure some people find this album dope, but I just cannot get past all the narcissism that is seeping through the entire album. At least old Kanye arrogance had the material to back it up!
Thursday, June 27, 2013
Songs of the Day
Well, I'm just gonna finish the album today because I'm so fucking behind. So, I've got "Hold My Liquor," "I'm In It," "Blood On the Leaves," "Guilt Trip," "Send It Up," and "Bound 2." Spoiler alert: it all sucks. Thankfully the beats are a little better this half, but that's about it. "Hold My Liquor" is stupid. I actually don't mind the harmonized autotune in the beginning, but only because it's harmonized. Unfortunately it goes to solo autotune, and ruins it. When will he just stop with that? It's obviously not working in his favor. I really don't like the horn in the beat - it's loud and distracting. "Pussy had me floatin/feel like Deepak Chopra" - fucking hilarious line. Kanye's flow on this is lackluster, which doesn't help the not-so-hot beat. Were his flow/lyrics better, this track could be salvageable. Weird guitar part is just that...weird. I'm bored by the end of this. The fact that Kanye says "eat your ass" in "I'm In It" is enough for me to turn my brain off. I do like the deep voice underneath, it's a cool way to emphasize the verses (which are some of the better ones on the album, still not great though). I don't like the beat, it's one big clusterfuck and is too all over the place. The dancehall break is alright, something different. The "she came and was like aaaaaaaah" line with the chop and screw at the end is funny, I literally laughed out loud. But the ongoing "stop fucker" part is just weird. This is one of the better tunes, flow wise, so I can get down with that, but the lyrics still aren't up to old school Kanye's par. I have very mixed feelings about "Blood On the Leaves." I like the beat, I think it's interesting, and I don't even hate Kanye's autotune (he's done much better), but my main problem is with the sample. It's a Nina Simone sample of the tune "Strange Fruit," which is one of the more poignant lyrics of the 20th century, and while the use of the sample is cool within the song, I almost find it disrespectful that he would use a tune that is so significant to the African-American community. Seems inappropriate talking about doing Molly, and cocaine, and fucking bitches and shit with that kind of sample. I'm also not the biggest fan of the horn sound they use, and it's a little too upfront. I'm really searching for some lines that mean something, but nothing really pops out at me. This song could have been a lot better, the potential was there, but he let his arrogance take over. "Guilt Trip" is nothing I care about. The beat is kinda cool, but that's about the only thing going for it. Firstly, I can barely understand a damn thing he says. He also starts this shit with fucking autotune, so I already hated it from the start (also, maybe it's time he get a new formula). Stop singing, homie - you can't. The string part at the end is kinda cool, but I really don't like the other shit going on - it clouds it. Nothing special about this track. I want to like "Send It Up," but this damn airhorn is gonna make me punch somebody, for real. I like that he's rapping lower in his register, but you can't really understand what he's saying, so that doesn't help. The dancehall part (round 2) is pretty cool, it would have been better if the airhorn was only on this part - would have saved some serious annoying points. Luckily, he knows we want to be annoyed, so he adds a weird sound that keeps it annoying. Basically, I'm annoyed. Of course he saves the best beat for the last tune, "Bound 2." I actually really like this beat, mainly because of the Brenda Lee sample, and it reminds me of classic Yeezy. I really don't like the B section though. Not to mention the melody sounds just like that hilarious Mary J. Blige commercial she did for Burger King that everyone thought was so racist. Seriously, listen to it, and tell me these melodies are not almost the same damn thing! Thank God he goes back to the original beat. The lyrics are, no surprise, arrogant. Lots of fucking and what not. I wish his flow was better on this one, and that he actually said some shit that mattered, cuz this song could be really, really dope. Waste of a beat.
Wednesday, June 19, 2013
Songs of the Day
Okay, so I decided to stop today's review after track 4, even though I feel like I could have done this whole album tonight. Today's tracks are "On Sight," "Black Skinhead," "I Am A God," and "New Slaves." If this set has taught me anything, it's that Yeezy has gone out of his goddamn mind. "On Sight" is hype song, but I find the beat so distracting from Kanye, which isn't all that bad in this case since he doesn't really seem to be saying much. He performed this at Governor's Ball, and I can't say I'm any more impressed than when I heard it then. Also, that "and put my dick in her moooooooouth" with the laugh at the end makes me want to slap him. I can get down with the beat on "Black Skinhead," but this is the song he played the men in the KKK hoodies on the jumbotron, so I don't have the best association with this one. I listened really hard to hear a line that blew my mind, but it's not in here. The song is definitely fun, I'm sure I'll get hype to it after a couple of drinks at a party or something. His growling "God" continuously at the end is really fucking weird though. Once I heard that a) Kanye's new album was called Yeezus, and that b) it included a song called "I Am A God," I knew he had gone fucking crazy. So it's easy to say that I've had a bad taste in my mouth about this song before I even heard it. I'm trying to find something in this track, but I can't when I can literally feel his arrogance through the track. But that's probably want he wants, shock factor and all. The beat could have been so much better. If you're gonna call yourself a God, you better have the track to back it up (this isn't even it). Then he's gotta end the song with this weird screaming and running loop. No thanks. Kanye (luckily) redeems himself lyrically on "New Slaves," the first song I can say actually seems to have some lyrical merit. "You see there's leaders, and it's followers/but I'd rather be a dick than a swoller" - I want to hate on that, but I can't. But as this song is about consumers being the new slaves of this time, Kanye actually seems to have some morals on this one. I kind of hate the beat though. The motif is fine, it's all the extra, really shitty-sounding synth sounds they add do it - it could have gone in a little more. I also wish I didn't feel like Kanye wasn't yelling at me the whole time. The B section groove at the end is cool, unfortunately Yeezy's gotta fuck it up with his really dumb, auto-tune voice. Nobody wants to hear that, shut the fuck up. Especially since I really dig where the B section groove goes, but of course it doesn't last very long.
Old Kanye: 1
New Kanye: 0
Old Kanye: 1
New Kanye: 0
Tuesday, June 18, 2013
Album Factoids
Yeezus
Released: June 18, 2013 (oh hey, today)
Genre: Rap/Hip Hop
Label: Def Jam
Producers: Kanye West, Daft Punk, Mike Dean, The Heatmakerz, Hudson Mohawke, No ID, Rick Rubin, RZA, Travis Scott, Symbolic One, Young Chop
Released: June 18, 2013 (oh hey, today)
Genre: Rap/Hip Hop
Label: Def Jam
Producers: Kanye West, Daft Punk, Mike Dean, The Heatmakerz, Hudson Mohawke, No ID, Rick Rubin, RZA, Travis Scott, Symbolic One, Young Chop
Week 87: Kanye West (pt2)
So, I had to do it. Yeezus came out today (even though I've had it since Sunday, thank you internet), and I had to do it. I reviewed Kanye's last album, My Beautiful Dark Twisted Fantasy - hence the "pt 2" - and he's gone even crazier since then, so I had no choice. I saw him in concert last weekend at Governor's Ball, and let me tell you, the man has lost his damn mind. The first song he played, there were men in black KKK hoods on the jumbotron, and it was uncomfortable. But that's Kanye - he's about the shock factor, and the wow factor, and all of the other how-can-I-get-people-to-notice-me factors. I wasn't too keen on the new stuff I heard, but I'm gonna get into it a little deeper and see if I can find any redemption in his calling himself a God.
Monday, June 10, 2013
Final Grade: C+/B-
Well, this took me forever, but I had to get back to it. I thought this album was ok. Random Access Memories definitely had a couple bangers, namely the Pharrell tunes "Lose Yourself to Dance," and "Get Lucky," but I think that this album could have been much better. I was very attracted by Daft Punk using real instruments on this album, but I don't think they did anything revolutionary with it. There were a lot of odes to disco and sounds of the early 80s, but they could have gone with better grooves from those eras, as well as enhance them in ways to make them cooler. I really didn't like "Touch," it was probably my least favorite song on the album. I know that Daft Punk is super talented, and I was hoping that would translate with real instruments, but not as much. I love "Get Lucky" and was hoping the rest of the album would be on par, but that was definitely the highlight of the album. There are definitely a couple tracks I'll keep on rotation, but not the album as a whole. Maybe they should just stick to electronics...
Thursday, May 30, 2013
Wednesday, May 29, 2013
Songs of the
Decided to go hard and review the rest of the songs on the album since I'm so fucking behind. Got "Get Luck (ft Pharrell Williams)," "Beyond," "Motherboard," "Fragments of Time (ft Todd Edwards)," "Doin' It Right (ft Panda Bear)," and "Contact." There's a reason that "Get Lucky" is the first single off of this album, and that's because it's the best track on the whole damn thing. The groove is on point, bringing together a good blend of an old school groove with new school (electronic) elements. Pharrell's voice works really well with the groove and allows the listener to have a better connection with the song. The chorus is also hilarious, because who isn't up all night to get lucky? Under normal circumstances, I would find the song to be a little long, but I like the groove so much that it really doesn't matter. Definitely the highlight of the album - it's been on repeat all week! The rest of the album is just okay. I like the string opening to "Beyond," but I definitely didn't expect the groove that came in afterward. I like the groove, it's super chill and the guitar riff is cool, but I think I would enjoy it more with an actual voice instead of the electronic voice - I think it takes away from the groove. This is another groove that I think goes on too long with no change. The groove is nice and chill, but it's not enough to keep my attention for the full 4:50. Otherwise, it's a decent song. "Motherboard" suffers from the same thing. It's a relaxed groove, and I like that there's a gradual build, but it goes on for way too long without changing. And then when it does change, it's not the B section it could be. The transition section into the B section is kind of weird, as is the B section itself. I feel like although the drums are cool in the B section, they're a little too loud and kind of cloud the rest of the groove going on. But the rest of the groove isn't that great anyway, I'm not into the synth sound going on. Not really into this one. I would have been nice if "Fragments of Time" made up for the last two, but it doesn't really. I like that this track gets back into an actual groove of sorts, but I think it's kind of corny. I'm also not the biggest fan of Todd Edwards' voice, so that doesn't help much. The groove in the verses is decent, but the chorus is pretty fucking corny. I think it's a mixture of the chord progression and the sounds used that result in a corny groove. The slide guitar is not helping anyone on this track. Not a fan. Luckily, "Doin It Right" makes up for it a little bit. I dig the electronic, harmonized voices on this one, because they work with the groove since it's so minimal. Panda Bear also works really well with this groove, so I dig the sound they add to the texture. The simplicity of this groove is pretty cool considering it's by far the most stripped down groove on the album. I do think the groove goes on a little too long though, but that's nothing new to this album. Aaaaand we reach the end with "Contact," which I'm pretty disappointed by. I dig the opening thing with the astronaut talking about seeing a UFO in space - I dig aliens - but I don't think the groove does the monologue justice. It's cool that the whole thing is like a spaceship taking off, but I think it could have been executed better. I really don't like the organ that comes in, I think it makes the groove sound very cliché 80s, which certainly could have been avoided. I like the idea they had with the extreme drums, but I think it could have been reworked to have not been so isolated within the sound. And the whole pick up is pretty annoying - I really don't like that sound that gets higher and higher. Bleeeeeeeeh. Not my kind of album ending.
Friday, May 24, 2013
Songs of the Day
Reviewing tracks 4 - 7 esta noche: "Within," "Instant Crush (ft Julian Casablancas)," "Lose Yourself to Dance (ft Pharrel Williams)," and "Touch (ft Paul Williams)." The piano intro to "Within" is pretty dope, and the modulation into the motif is nice. I'm a little indifferent to the talk box - I could have gone with it, or an actual voice would probably be cool too. This groove could be so much better if the drum feel was different, I really am not a fan of them. They made the song sound kind of corny when a different drum feel could have made it funky. Coulda been betta. Luckily "Instant Crush" has a pretty cool groove. It's got this 80s rock/electronic-pop feel going on that I dig. The pick up in the chorus is really funky and has a great upbeat feel that really makes you want to dance. I also really like that the funkiness of the chorus is unexpected since the verses are a more low-key feel - it's a cool juxtaposition. Julian Casablancas voice effect works for the song, so I dig it. Solid song. "Lose Yourself to Dance" follows right on with it. I wouldn't have expected anything less since Pharrell is on it. This is a pretty funky groove goin on. The bass is holding it down, and I like that the guitar part is keeping it up. The track has a really cool build to it throughout the tune, adding addition vocal parts that continually build the song up. Love the guitar/claps break, and then bringing the groove gradually back in. The last two are definitely my favorite tracks on the album thus far. "Touch" is kind of a weird song, and I don't know how I feel about it. The intro is pretty cool, sounds like we're on an alien planet, but like what people thought an alien planet would sound like in 1950. The dude speaking gets pretty creepy, but the whole thing is pretty entertaining. Was not expecting it to go to the opening feel. This song is a compilation of five different styles of one motif, the first being low with the piano and Paul. I'm not a huge fan of Paul Williams voice, I can't pinpoint it, but it's almost got too much of a (bad) Broadway feel to it. Just doesn't fit with the album. I like what it starts to go into, but I don't like the saloon piano sound in the second feel. I think it makes it sound corny, and the groove didn't need it. The much slower version in part 3 is pretty cool, and I dig the talk box harmonies, but I wish the choir wasn't added in the background. The choir didn't provide anything beneficial to the sound. Part D is pretty cool too, the strings sound really good. The choir sounds much better on this feel, and I think it's really cool that it starts very much in the background and slowly comes forward in the groove. The space shit that takes it out is cool, but I wish it just ended there instead of going to Paul. I understand how the cohesiveness of bringing it back ties the song together, but I think going back to that really slow beginning brings the groove down when it was in such a high place.
Tuesday, May 21, 2013
Songs of the Day
Got the first three songs up for review tonight: "Give Life Back to Music," "The Game of Love," and "Giorgio by Moroder." The intro to "Give Life Back to Music" kind of put me off, but I really like the groove it settles into, so all is forgiven. The title had me hopeful (as it's a statement I fully agree with), and they stuck to it pretty well. What more life can you give than some funk?? The guitar part is definitely solid, holds the groove down. The talk box isn't my favorite on this, I feel like the groove deserves some solid vocals, but it's not the worst thing. I'm also not a huge fan of the rockish feel build up that goes on every so often, but I'm not completely put off by it. Fairly solid opening number. "The Game of Love" is a pretty cool way to follow up. It's slow, and funky, yet seductive - definitely a good combination. It for sure feels like something out of the 80s, but not in a cliché way, so props on that accomplishment. I don't mind the talk box on this one, because I feel like the simplicity of the track leaves more room for an electronic element like the talk box. The only thing I don't like about this track is the length. Being the same groove, same lyrics, it just gets a little too repetitive. I would have chopped off about a minute (maybe more), which would still make it over 4 minutes. Otherwise, I dig it. "Giorgio by Moroder" is my least favorite song of the day. It starts off with an intro by Italian record producer Giorgio Moroder (get it?), talking about his start in music. He worked a lot with Donna Summer, so I was pretty surprised that the groove didn't go more in the disco direction (which is labeled as one of the genres for this album), and frankly, a little disappointed. It starts out with a disco feel, but then it gets too electronic (the most of the songs today). And I get that Daft Punk is an electronic group, and I get down with dope electronic music, this just isn't my favorite electronic groove. This song is way too long, and even with all of the elements that come into play (especially towards the end with the drums, guitars and whatnot), I find it pretty boring. It very much sounds like background music to an adventure video game - not something I particularly want to listen to outside of a game. The keys solo in the middle is dope though, as is the groove that accompanies it - that's the groove they should've stuck with. It's just a lot, and for as much as it is, I definitely lost my attention on more than one occasion.
Album Factoids
Random Access Memories
Released: May 21, 2013
Genre: Disco/electronic
Label: Daft Life/Columbia
Producers: Thomas Bangalter & Guy-Manuel de Homem Christo (Daft Punk)
Released: May 21, 2013
Genre: Disco/electronic
Label: Daft Life/Columbia
Producers: Thomas Bangalter & Guy-Manuel de Homem Christo (Daft Punk)
Week 86: Daft Punk
Alright, back after a break! This week, I decided to review Daft Punk's latest album, Random Access Memories. I know Daft Punk's work, but only singles, and I've heard good things about this album, so I figured I'd check it out. I also hear that it's mainly live instruments, so that's pretty dope coming from this electronic duo. I really dig the first single off of the album, "Get Lucky" ft Pharrell, so I hope the rest of the album has a similar vibe! Yay new music!
Monday, April 29, 2013
Final Grade: B+/A-
Yusef Lateef definitely opened my eyes to some jazz flute, I definitely dig it. I really liked the different styles that were played out throughout the album, including the nice "Hey Jude" cover - it was nice to have such a variety. I for sure need to dive into some more of his and his comrades stuff, there's not nearly enough jazz in my life. Definitely some cool tunes, my favorites being "Lowland Lullabye," and "Jungle Plum." Yet again, my mom came in for the musical win :)
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