#how to make a melodic rap flow

[yuzu-all-the-way]

FaOI Makuhari Day 3 (live) - Impressions

The long-awaited live stream. After a sleepless night because there was no way to contain my excitement for 'pro athlete Hanyu Yuzuru' back in the public eye, I finally got everything under control when the guy sneakily showed up in the middle of the skaters.

It was odd not to hear him being introduced right away and it was even odder to him being introduced BEFORE his trademark opening 4T. Luckily, I had the satisfying moment of hearing 'Yuzuru-4T-Hanyu' in FaOI Makuhari 2022.

I said I wouldn't judge the OP and Finale costumes until I've seen them in motion. Well, now I have. The OP costume is definitely acceptable on Yuzu and I already expressed my love for those weird-ish pants last year. I can't say I'm overly fond of the OP music, but it is what it is and there are definitely some fun choreography parts. The green parts of the costume glow in the dark, so I guess for the audience in the venue it's a pretty cool visual.

Once the OP was out of the way, more than 2 hours I had to struggle to stay awake. One criticism about the show as a whole, it should have more female skaters, some of the men are cool, but some are really not up to it anymore, so, please, just get more women for FaOI next year. And put them also on the poster.

It should be noted that this year's announcer, you know, the guy that introduces the skaters, was not the usual one. This guy was much blander, but damn, Yuzu's intro was spot on. Double Olympic gold medalist, super slam achiever AND solo-ice-show holder and producer who filled out the Tokyo Dome. Of course I couldn't understand the entire thing, but Tokyo Dome I could hear loud and clear.

There's not one bit of If's choreography that I don't like. It's such a complex, perfectly balanced skating-dancing program, emotions could've been a bit clearer, but I'll take what I can get. I re-watched this program countless times before I finally made up my mind to GIF it. It was such a cool thing to do because I could pin-point so many small, on-beat, perfect moves. And, also, I could see that jewelry has a knack of leaving Yuzu.

Last year, it was the bracelet flying off when the holy paper cup was yeeted, now, the Phiten gold-winged necklace abandoned Yuzu. Although it tried its best to hold on, Yuzu's insane hip-hop on ice moves were too strong for the poor wing.

Apart from this small incident which Yuzu himself appeared not to have noticed, the performance was such a success. Yuzu catches every beat of the music, he uses the melodic line for ample moves and the rapping parts for short, fast, precise moves. I strongly encourage you to check out the entire program and every time there's the beat, watch Yuzu's feet and/or arms. Those are the ones skillfully used either together or separately to get that flow going.

I haven't yet found the right words to properly describe how much I admire Yuzu's commitment to further improving himself and creating programs that are very unusual for figure skating. I just can't get over him starting If with a camel spin and ending with a full split AND with the torso bent forward. The audacity of this man to show off his flexibility like that...

One thing I don't particularly like about If... the music. But even that is growing on me now.

The Finale left me a bit disappointed. The song really doesn't do anything for me, the choreography is so weird - and yes, I understand it's a choreo that's been popular in Japan some years ago, but it's still iffy. Nevertheless, you have to appreciate how hard it is to hop on ice one-footed - lots of skaters seem to struggle with it, but Yuzu's doing fine (as if that's a surprise). The solo part is cute, Yuzu's usual intricate footwork that I can only marvel at. I miss the layback spin, though, that was done on Day 1 and shared via TvAsahi's figure skating tiktok account.

Now about that costume... I really don't have much to say about it, but I've learnt to appreciate it makes it easy to count abs. In any case, the finale was okayish, but not the grand finale I'd have expected. Oh, let me mention the wardrobe malfunction: Yuzu's top was unzipped in the back and appeared to be held with a safety pin. Did he break the zipper while changing in 2.12 minutes?

Anyway, there were several cute moments and a very high-tension one. I have no words for the latter, so I'll just post the video.

4T3A-Eu-3S-3Lo (step out) - unhinged combination that was done after a very long preparation time. Yuzu was checking his axis, skating around the rink, approximating distance, the usual math he does on the spot.

And the cute moments - Yuzu cutely shushing the crowd before encouraging them to cheer for the artists, Yuzu finally realizing he lost the wing necklace when Shizuka gave it back, Yuzu trolling everyone with his 'little soldier' walk (as if he'd leave without ARIGATO-ing)...

Ah, Fantasy on Ice 2023 Makuhari. A gem.

This will have to be sustenance enough because the next broadcast is the Kobe Day 3 live which is the very last show of the tour. I'm mad at this and Fuji TV is to blame.

#yuzuru hanyu #faoi 2023 #ice show

[granvarones]

in the vast universe of hip-hop’s fifty-year history, certain songs stand out for their musical brilliance and place within pop culture and their profound impact on how we eulogize the lives of the loved ones we lost. among these iconic tracks include pete rock & CL smooth’s “they reminisce over you (t.r.o.y.),” geto boys “six feet deep,” puff daddy’s “i’ll be missing you,” coolio’s “gangsta’s paradise,” cuban link’s “flowers for the dead,” and bone thugs-n-harmony’s deeply moving 1996 chart-topper, “tha crossroads.”

emerging in the early 1990s, the trail-blazing cleveland, ohio group achieved multi-platinum status several times under the guidance of mentor and west coast gangsta rap pioneer eazy-e. the group’s distinctive style was an exquisite fusion of rapid-fire flows, gripping storytelling, and melodic doo-wop vocal harmonizing that set them apart from the prevailing sounds of their era. their 1995 magnum opus, “E. 1999 eternal,” cemented their standing in hip-hop, and solidified their legacy.

“E. 1999 eternal” arrived in july 1995 to critical and commercial acclaim. while the lead single, “first of the month,” became the group’s first top 20 hit on billboard’s 100, it was the yet-to-be-released track, “crossroad,” an elegy for a friend lost to gun violence, that quickly generated buzz. when the song was released as the album’s third single in 1996, it had been reworked as a tribute to eazy-e and rechristened “tha crossroads.”

eric “eazy-e” wright co-founded ruthless records and the west coast hip-hop group NWA in 1987. the group’s 1988 album “straight out of compton,” which included the still relevant “fuck the police,” propelled gangsta rap to the forefront of commercial viability and is widely regarded as one of the most influential albums in hip-hop history. eazy and ruthless records continued to impact hip-hop landscape with the signing and global success of bone thugs-n-harmony.

on march 20, 1995, four months before bone’s “E 1999 eternal” was released, eazy-e stunned the hip-hop world when he announced that he was dying from AIDS complications. in a statement issued through his lawyer, eazy courageously stated, “i’ve got thousands and thousands of young fans that have to learn what’s real when it comes to AIDS. like the others before me, i would like to turn my problem into something good that will reach out to all my homeboys and their kin, because i want to save their asses before it’s too late.”” eric “eazy-e” wright died six days later on March 26 at the age of 30.

released in april 1996, a year after eazy-e’s untimely death, “tha crossroads,” debuted at #2 on billboard’s hot 100 before topping the chart for an astonishing 8 weeks. the emotional and spiritual tribute to their friend wally, uncle charles, eazy-e, and other family members, resonated with listens who themselves had experienced loss due to AIDS and gun violence. “tha crossroads” was anchored by a music video that provided a powerful visual to song’s chorus, “see you at the crossroads, so you won’t be lonely,” and offered hope, reminded that those lost to AIDS and gun violence would find solace in the afterlife.

the legacy of “tha crossroads” highlights hip-hop’s extensive history of amplifying social issues, including HIV/AIDS. in october 1995, urbanAID 4 lifebeat hosted hip-hop’s first AIDS benefit concert at new york city’s madison square garden. the now legendary roster of performers included run DMC, the notorious big, wu-tang clan, salt ‘n pepa, mary j. blige, brandy, and to name just a few. the concert also featured video testimonies from people living with HIV and a video message from bone thugs-n-harmony.

“see you at the crossroads, so you won’t lonely.”

“tha crossroads” is a heartbreaking hymn that envelopes you. it is a song about remembrance without making those lost too saintly to reach, touch, feel, and mourn. the song is about personal grief. it is about communal grief. it is testament that hip-hop has the power to inspire transformation and compassion. “tha crossroads” is a song that serves as a comfort for the grieving and dead – a reminder that a reunion will be at the crossroads.

“’cause i know ima meet you at the crossroads.”

#granvarones #gay #queer #latinx #storytelling #afrolatinx #songs that soundtracked the aids epidemic #Youtube

[pink-ttes]

rank the members from least talented to most talented pls <3

OKAY SO. HERE WE GO.

001. CHARMEINE : I feel like we’re not surprised, tbh! She’s the holy grail of the group. She’s main dancer material, arguably the second best in the group behind Tana. With her strong, consistent vocals and impressive range she earned her spot as the groups beloved main vocalist, often being labeled as the best vocalist of the 4th gen. Although nobody in pinkalicious is particularly great at rapping, she proves herself to be a decent rapper, coming in at third best with her often infrequent brief catchy verses and sassy tone that fans have fallen for. She also can write a mean song, her lyricism only getting better with time as she watches the groups eldest London’s writing process and mentoring. Her stage presence is another thing to never be messed with! She’s easily the most consistent performer in the group and loves being onstage and you can tell as she’s constantly praised for her skills. Frequently called the performer of her generation. Charmeine proves everyday that she’s a jack of all trades.

002. LONDON : Many people would be surprised to see her outdoing Tana on this list, however, London excels in all areas except dance, stage presence, and rap compared to Tana. That seems like a lot but lmao let me explain! London is a wizard with the pen, not to mention her ear for beats. She’s written almost every song in The Pinkettes’ discography (yes, even the songs she wasn’t credited for.) Next, she’s the second best vocalist in the group, having exceptionally stable vocals and a very pretty vocal tone that could be described as light, airy, slightly honeyed, surprisingly versatile, and melodic. Noooww this is where things take a small turn. Her stage presence is really not that bad but it’s definitely not the best. Her facials aren’t that versatile and honestly consist of similar variations of the same expression—no matter the concept. Her dance is also not bad, just, once again, not the best! She’s a very soft dancer which makes it look like she’s not dancing as hard as the other girls so it can seem as though she’s underdancing. She princessify’s every choreography ever. Rap is obviously not her strong suit, either. But then again, none of the girls are great rappers but they eat on a song. London can write a good verse but she cannot execute it the same way, which is why she never gives herself a rap verse in any song ever. Though she has her shortcomings, she made her way at number two because she’s pretty much the backbone of the group.

003. TANA : Coming in at number three, everyone’s favorite main dancer Tana! She’s an amazing dancer and has been dancing her entire life. She’s often praised for her sharp moves, attention to detail, control, and versatility by well-respected industry professionals. She’s frequently labeled as the best dancer of her generation and her freestyles stun every time. Going hand in hand with her dance, her stage presence is exceptional. She’s consistent and very expressive onstage, knowing how to match with any concept. Her rap is also pretty good, hence her main rapper title. She has nice flow and execution. Her most lacking area would be her vocals. She’s not the most stable but she’s decent. However, she has a vocal tone whose reception is very divided. Some people say she sounds like you can hear her struggle whenever she steps to a mic, others say that it’s her style.

004. MIKYUNG : Don’t get it wrong, Mikyung isn’t this low because she’s purely untalented. She’s arguably the second best dancer of the group, her remarkable smoothness, outstanding musicality, and precise movements never go unnoticed. Her stage presence is neck and neck with Tana’s, they just differ in vibes. Mikyung offers an effortless, kind of subtle, charisma that captivates the audience. Her vocals are good just not in comparison to the top two. She has a surprising range and a well-perceived tone that’s distinct and can be described as nasally but sweet tone. The second best rapper in the group, she has a charming yet fun flow/style that makes all of her verses addictive.

005. NELLY : No surprises to be frank. She’s a mediocre dancer and not very smooth nor versatile—which is they a lot of songs/choreo from the core four were swiped (because she couldn’t keep up.) She has a hard time with musicality and was caught a beat behind the other members on multiple occasions. Vocals are also mediocre, she’s quite listenable in the studio on the actual track but she’s not all that stable. Rap…never let her spit on the mic. London learned her lesson giving her a couple of verses a few eras back when the poor girl got slandered by the masses dhsjdbs. Her best area would be her stage presence which was definitely a work in progress. For a lot of her career she was pretty much like a deer in headlights onstage until recent years when we saw some good improvement. Now she can pull out some charisma and allure in her facial expression which are starting to receive praise.

#ℐׅ 핑크 ─ Q&A 𝆬 ֪ ࣪ ᰍ

[luuurien]

Lil Shine - Lovesick

(PluggnB, Pop Rap, Trap)

On his latest EP, Lil Shine’s candied cloud rap throws in more rock guitars and lush orchestration, his melodic flow given a little more space to breathe. Lovesick’s playful PluggnB hasn’t changed much from his debut, but it’s the little things that make all the difference.

☆☆☆☆

Underground trap’s idiosyncrasies often make for some of the wildest listens, and that’s especially the case for Minneapolis’ Lil Shine. With dozens of singles and his SH!NE and Heavenly Ascension mixtapes establishing his presence prior to his debut album Losing Myself, his nasally vocals and sugary plugg beats had already found their sweet spot, making the album one of last year’s strangest and loveliest listens. But, like before, his music had to continue expanding, his latest mixtape Lovesick throwing rock guitars and lush orchestration, his melodic flows given a little more space to breathe while the music stays as energetic and boastful as ever. It shares all its main characteristics with Shine’s previous releases, and Lovesick is all the better for it, a second helping of Losing Myself addictive PluggnB with just enough new flavors thrown in to make it distinct and exciting to hear.

Fitting to its name, Lovesick features more romantic arrangements replete with swooning strings and warm piano leads, distorted drum programming and synth chord progressions still here but driven by a softer spirit. Mistakes opens up with a grand piano progression and gentle strings before the beat kicks in, Shine’s midtempo flow letting him slowly work out tangled feelings towards a breakup, while the title track interpolates its melody from Paramore’s Stop This Song (Lovesick Melody) (even playing a bit of the song as the song fades out) to harness some of that bitter, heartbroken pop rock energy into a hazy cloud rap cut. The obvious heavy hitter is Jeans Soaked, a massive second half highlight pushed by a winding electric guitar and triumphant horns for one of his best hooks to date (I haven’t stopped humming “I spilled wockhardt on my jeans, now my jeans soaked!” for weeks now), but the surrounding song’s lighter presence makes for a good balance, Too Much’s 8-bit synth leads and the smooth guitar solo in One Last Time subtle but lovely changes to Shine’s sound that don’t mess with the form of his songs. It’s some of the best rap this year, and all of its weirdness only makes it better. Lovesick’s playful PluggnB hasn’t changed much from his debut, but it’s the little things that make all the difference. Leaner and more diverse in its sound, it makes a wonderful follow-up to Losing Myself with some new twists, taking on the sharper edges of rock and pop punk and sprinkling it around the usual bassy 808’s and synth leads. Still tapping into the possibilities of PluggnB and how far he can stretch its limits, Lil Shine’s music continues to be as fun as ever with all the weirdness and creativity those early Soundcloud releases got so much traction from. Lovesick may be about heartbreak, but it’s the most lovable and exciting music from Lil Shine yet, bittersweet alt-rap in all the right ways.

#lil shine #lovesick #self-released #alt-rap #experimental hip hop #plugg #pluggnb #pop #rap #pop rap #trap #2023 #8/10 #album #album review #new album #new music #music review #music reviews #music recs #2023 music #luuurien

[adagioapassionato]

Thinking about...Reflection by RM.

I would today like to talk about the multiple ways in which ‘Reflection’ breaks my heart and what it means to me. I seriously cannot listen to it without feeling completely broken inside and wanting to cry because I hate that Namjoon has felt like this and I also hate that I know exactly the feeling he tries to portray here. I think the way this song is constructed is incredibly beautiful. Namjoon begins with the words "I know every life's a movie..." and the entire song is constructed exactly like a movie scene.

The song begins with background noise that sets the scene: a bar, noise, talking, and as the music begins to fade in, it’s as though a camera zooms in on Namjoon, who then begins a sort of monologue. "I know every life's a movie, we got different stars and stories..." Although he wants to continue “shooting the movie (of his life) well,” he can’t help but hate himself. It’s a beautiful way to describe attempts to ‘romanticise’ your loneliness. That’s something common people say these days – to ‘romanticise’ and fall in love with your alone time, pretending you’re a ‘main character’ in a movie or a story. However, doing this also overlooks the feelings of self-hatred that come with loneliness and make it hard to continue pretending your life is a movie. He goes on to talk about why he comes to this bar in Dduksum when he hates himself. It reminded me of going out and surrounding myself with people when I felt lonely, which hardly helped and often made me feel worse and even more like I didn’t fit in. However, doing this is something of a guilty pleasure – “when I hate myself I come to Dduksum...fear, which holds my hand/it's alright if everyone is in 2s and 3s/it's good that I have a friend too." Although he hates himself, although coming to a noisy bar reminds him of the very self-hatred and loneliness consuming him, he still returns each time he feels this way. He almost romanticises fear holding his hand as his only friend – as he tries to maintain this movie-like, romantic aura around his loneliness, he ends up creating an eerily sad image.

After he says this, the instrumental break is cinematic and adds further to conjuring a scene that seems to zoom out from Namjoon – the music is emotional and sad, creating the feeling of gazing on as the world passes by around you. We observe the whole scene of the bar while also focusing on Namjoon who is alone in a crowd, and how his fear, loneliness and pain are mixed in with the scene. In the following verses, he progressively breaks down and overthinks about his loneliness, getting further into his head. Where the first verse was like a slow description of his feelings, the second verse gets more desperate as the tone of his voice and his rap flow get louder and faster: "the world is just another name for despair/my height is a diameter of the earth/I'm all my joy and hate." He desperately describes how he feels too big for his body, too distant and out of place, an outsider and alone even when he surrounds himself with people. He captures loneliness accurately with heart-wrenching lyrics: “Everyone else knows where they’re supposed to be/But only I walk without purpose” “I want to be free/I want to be free from freedom.” Loneliness, being on your own, is often considered as you being ‘free’ to do what you want without being bound to anyone, but it can also be disorienting and feel like you’re suspended in time without an idea of where you want to go. The record scratch before the instrumental break is jarring here – it’s as though he is suddenly jerked out of his thought spiral and returns to a reflective state of watching the world pass by him in his loneliness.

The last verse, which contains only one line, is the most desperate of all: "I wish I could love myself." He repeats this over and over – a solution he knows would end these feelings, but one he simply doesn't know how to reach. He seems to rap this melodically, blurring the lines between whether he’s singing or rapping – creating further this dichotomy between romanticising and loving loneliness and screaming the pain that it brings. Then the music fades out as a camera would in a movie, zooming out of this sad, upset character to the general scene before it turns black and ends the song.

I've cried to this song playing on repeat, and it now brings that memory to mind. I interpret the song in this way because my emotions while listening to it progressed in much the same way. It reminds me of a day when I was slapped in the face by the realization that I. Didn’t. Have. Friends. To add insult to injury, I decided to listen to Reflection on repeat that day. I sat there sobbing my eyes out every time Namjoon said "I wish I could love myself," because God, I wished I could love myself, but how, when I felt like no one would ever love me? The instrumental break too, I sat sobbing as the ambient music of life passing by me played behind me. It was such a painful and heartrending experience that I don’t think I'll ever forget how understood I felt by the song. There are some days where I cannot bring myself to listen to it because it brings this feeling back to me. It's truly amazing how he captures one feeling in so many different ways and yet makes it so relatable for everyone. Thus, this song reflects my own feelings of loneliness, of being alone when surrounded by so-called friends, of watching the world pass happily by around you while you stay stuck in your head wishing that for once in your life that you could just be part of that world, but you can’t.

Reflection. You reflect and think a bit too much as the world passes by you. Reflection. You watch the world as though it is reflected in a mirror – it seems like you know it and recognise it like it’s facing you, but you still can’t touch it: it’s far away, distant, alien. This song breaks me so much that I often struggle to listen to it without feeling hurt and sad, but it is so beautiful, just like everything else Namjoon writes.

-a slightly old piece of writing, but this song means a lot to me. i hope you enjoy my take on it :)

References:

Reflection English Lyrics

#bts #namjoon #kim namjoon #rm #reflection #wings #writing #music #thinking about...music #adagio apassionato

[placegrenette]

Every Ninety One Song Reviewed: “Órik,” 2022

“Órik,” released as a single, 2022 Music credits: Daniyar Kulumshin (Bala) Lyrics credits: Dulat Mukhametkaliev (ZaQ) Music video director: Adil Kazkenov

We are back to our regularly scheduled programming. Apparently the album’s not coming out until March (and all signs right now point to it being an album, not just an EP) but the album pre-promo is flowing so freely that I took a few days off to write about some brave men whose work had nothing to do with Kazakhstan or pop music but is nevertheless worth your time, and suddenly I’m two singles behind. 

The first of the two, “Órik,” feels like it’s trying to cover ground “Bol Bizben Birge” left alone. The previous single was an Alem/Ace collaboration; this one is all Bala on the music. The previous single was melodic and sentimental; this is a bhangra-laced trapfest whose central metaphor may be sexual. (Maybe? Probably? I went through the English subs three times and I’m still not sure. On the one hand, Bala seems to be talking about a beat, or energy; on the other, I don’t think the peach emoji has an alternate meaning in Kazakhstan.) The last video had wholesome Christmas tree decorating; this one has sops to TikTok and Ace getting felt up by a skeleton.

I mean, I don’t blame you, skeleton (and Ace doesn’t seem to either), but the man is making actual progress on getting an apartment, maybe wait for some privacy before you go stealing second base.

Oh, what do I think of the song? Y’all should know by now it’s not a good sign when I’m this far into the review and I haven’t talked about the song. We are all grateful that my critical opinion has absolutely no effect on the commercial and personal successes of Ninety One. Also that my enemies couldn’t see my face the first time I heard that “shimmy-shimmy-shimmy” bit. (From Ace; Alem gets through his part with considerably more dignity.) No, this is not one of the better efforts. It’s a cute B-side, like “Qiyalman” before it, but “Qiyalman” had guitars and a bit of self-deprecating social criticism, and “Órik” has neither. The chorus has exactly one idea repeated over and over. Even ZaQ’s rap feels only half-filled in, as if he were thinking ahead to future set lists where “Órik” might land between two songs with more demanding bars.

On the plus side, we do get English subs this time. (Which occasionally raise more questions than they answer: this is the first time ever I’ve seen sau bol translated as “bless you,” rather than the literal “be healthy” or the more common “bye.”) And given the sheer speed of events, I think, like “Suraqtar,” this was something they knocked out quickly rather than investing a lot of time and pride. Which is fine! They don’t have to bring their A game to every single song, especially if they’re going to be prolific. Let Bala have his fun shuffle. But let’s not make more of this than it is.

How’s the Hair/Styling? The preppy look actually suits ZaQ nicely; Bala deserves credit for being game for Zhadra’s more daring hair-color ideas, but I’ll be glad when they move on; Alem is on the verge of being too old for this setup; and Ace would probably be okay if his hair were a different color (he was already back to brown by the time of the Astana concert on the 23rd), cut more flatteringly, or both. Should You Start Here? No, but I say that as someone who generally finds TikTok irritating and don’t particularly want to encourage the guys’ efforts on that platform.

#ninety one #every ninety one song reviewed #come find me eaglez #music from kazakhstan

[tyriq092]

Juice Wrld: The man The myth and The legend

The loss of a loved one cannot be avoided, in my opinion. The oddest of all feelings, loss strikes us on a deep level while being pushed upon us from the outside. Even though grieving is unavoidable and death is predestined, we can ultimately choose how we handle the passing of a loved one while we are still living. In doing so, we may make our lives count and motivates others.

Loss combines the most challenging and most wonderful component of being human. Why? Because of how much you love that person, the worse the loss is. The more we love, the more we grieve in a bizarre equilibrium. A life without loss is a life without love, so that love is worth it.

Early in December of 2019 Juice Wrld boarded a private plane for what would be his final flight before he passed away. For a man who celebrated life in and out of wax, it was a shattering conclusion. I distinctly recall the first time I heard Lucid Dreams' most well-known song. This particular song captures the moment when a breakup feels like war and turns into a struggle for one's own survival. The song became an enduring symbol for me and hundreds of millions of other listeners, and Juice Wrld was established as a rising star. 

Juice's admirers, whose hearts are weighed down by their own sorrow and suffering, were moved by his honesty and sincerity. His discography was adopted as a soundtrack for self- and relationship-related grief. In a society when being harsh is both expected of him and required, he showed softness.

His death at even a tender age is especially tragic because his songs imply that he could never see himself in any other situation. He advised knowing deep down that reaching old age wasn't a privilege only enjoyed by those who shared his background, emotions, and profession. I believe that Juice Wrld wanted to live even if his most heartbroken tracks, like Dark Place and Burn, among others, frequently seem like suicide letters laced with addiction and misery.

Despite instincts that would lead him to do the contrary, he was trying to get clean and was loving intensely and loudly. In order for those of us who were alone in our private lives to feel less alone, he battled his issues in public. He even provided his phone number for anyone who wanted to contact him.

There are issues with living in a place where we are required to repress our feelings and not exhibit signs of weakness, which hasn't been easy for me and Juice Wrld likewise. In order to numb our suffering, we tend to interest ourselves in all kinds of activities to make the agony go away. However, Juice compelled us to pay attention as he frequently spilled out his feelings, concerns, fears, and insecurities in gruesome details, creating scenes of melancholy and loneliness with unflinching sincerity.A wailing melodic flow that imbued his hip-hop blues with drama and intensity was the foundation of his blue-stricken hip-hop blues. He risked everything by barring his soul in an act of unrequited love while hoping he would pass muster. Though he rapped primarily about heartbreak and pain brought on by breakups as well as by life, problems with brain chemistry, and methods people use to numb themselves, such as pills, alcohol, or lean, the relationships that he absorbed were just another way for him to vanish and feel something else.

Along with his deceased colleagues Lil Peep, who died at the age of 21 from an accidental overdose, and XXXtentacion, who died at the age of 20 from gun violence, he was a crucial component in the commercial growth of emo rap and one of the genre's most influential proponents. What's the twenty-seven club? We ain't making it past twenty-one, goes a line from his song "Legend," a homage to X and Peep, that hangs over his life like a shadow or premonition. 

 The world frequently speaks about us black males and our fury, but rarely of our grief as is seen in Juice Wrld's song Wishing Well, in which he sang: ’Ring-ring, phone call from depression You used my past and my memories as a weapon On the other line, I talk to addiction, huh Speakin' of the devil, all the drugs, I miss them This can't be real, is it fiction? Somethin' feels broke, need to fix it I cry out for help, do they listen? I'ma be alone until it's finished’’. For his fans and even for himself, his drug addiction has been a source of concern. which he said that in a song called burn that ’’Gotta put the narcotics down, I can feel 'em fucking up my kidney And punching my liver If I let it kill me, my mama'll never forgive me Ain't numbing my feelings, if I let it kill 'em, my baby will never forgive me’’.

Following Juice Wrld's passing, I have been diverse. I used to try to conceal it a little, but now that I have a channel, I can be different while also attempting to educate people about how using drugs to numb our feelings will just cause us to forget what our true concerns are. His life and songs were and will continue to be a spark for all of us, even after his death, proving that the demons he sang of did not triumph. 

 In the comments, please🙏!

Love to you all😍😍.

#juicewrld #popular #sad #loss

[volumehypeplay]

Favorite songs of 2023

With the speechless list already out, I want to close out my end of year lists with my favorite songs of 2022. Some expected artists pop-up (with unexpected songs?) and some wild cards thrown in for good measure. So rather than wasting your time, get started below.

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Ms. Mural

When Lupe Fiasco announced he would write and record an album in 24 hours, even as a huge fan of his work, I wasn't exactly expecting much. What felt like years later, we had a name 'Drill Music in Zion' (goat album name?) then a few months later a single 'AUTOBOTO'. A good track, but nothing out of the ordinary for Lupe; a song he could make in autopilot, yet still lyrically dropping gems 'What's an infrared dot to a whole dot gov?'.

What really had me excited though was finding out DMIZ would house the next in the Mural series, this time Ms. Mural was taking center stage. It does not dissapoint. Hearing Lupe rap over some classic Soundtrakk production, while narrating the song from the perspective of a painter and his patron (as well as the painting itself?); is the kind of mind-blowing goodness I anticipate from the Chicago emcee. The are bars, on bars in this song that I could point out, but from;

Man does not become superior 'cause you connect him to a cape, Nor does become inferior because you connect him to a ape,

we get a masterclass in subject switching (gender roles, ethics etc) while tying it into the artistic narrative of a song. Like every Fiasco song, this one will take months to unpack, so why not join me and help me understand?

Sistanem

J.I.D, for years has been on the verge of achieving his final form. Clearly, incredibly talented, with easily the most interesting flow in the game, ferociously adaptable and having an innate ability to find THE pocket in any beat. The thing that was missing was always the album that would focus his potential, the ability to cohesively tell a story while standing out like the always does. In 'The Forever Story', he thankfully delivered on his years of promise. in a short, dense 12 track album.

J.I.D spent a chunks of the album doing what he was already excellent at (Surround Sound, Raydar, Lauder too) but better, as well as introducing us to sides of him that were not as obvious. I couldn't decide between Crack Sandwich, Kody Blu 31 or Sistanem for a long time as the highlight of the album, but the latter seemingly mixes what the former do fantastically but in one 6-minute track.

Produced by James Blake, Sistanem is the perfect amount dark and brooding as it is comforting and melodic. The drums are quiet, delicate and subdued, perfectly complimented by J.I.D's more graceful than usual delivery.

His sing-songy delivery of:

Back on the road, gone with the wind blows Packin' the shows, hoes and the nymphos, platinum and gold You know how this shit go when family's gone You don't know what you here for, uh

is the soundbite of the song.

Blake, cleverly adds instruments as the story of the family / sisterly squables evolve (adding to the animosity) - as J.I.D experctly adds tired inflections to his voice, helping sell the ongoing turmoil being re-told.

If you have any interest in modern hip-hop I would definetly give this song and the album a listen.

Survivors Guilt

It's been a long, long time since a Joey Bada$$ song hit me the way Survivors Guilt has. The death of Capital STEEZ has been hanging on Pro Era and Bada$$ for years now, never entirely being addressed (definetly not like this). On Survivors Guilt, Bada$$ pulls back the curtain and burns it down; revealing a much more vulnerable side to him, I wasn't aware he was willing to put on record. With the final verse from Joey and the outro from Ab-Soul (especially after HERBERT) closing the song at an incredibly emotional crescendo.

This is the best Joey Bada$$ has sounded to me in years and I hope what he managed to achieve with this track, specifically on this 1999 leaning production that Rahki produced — we'll be seeing more of this Joey, more often.

Drugstore

London born, US based IDK has been growing on me these past few years. With tracks like Just Like Martin, Once Upon A Time and Black Sheep / White Dover; I've been seeing a much more confident artist taking form, constantly diversifying his features, production and delivery.

When I heard IDK was partnering with the incredible KAYTRANADA on an EP, I had a feeling it could be special. Spoiler alert, I was not dissapointed. KAYTRANADA wild' out on every song, creating the sort of grooves I would have just loved to see Smino over, but thankfully IDK took on the challenge and delivered such a good collection of songs, I couldn't imagine anyone else rapping over these beats so well. Drugstore is the EPs standout; over a bouncy, ever-evolving beat IDK delivers a tour-de-force, that when the song ends you'll be pressing the replay button without even realising. Would love to know what others think of this one.

Please Do Not Lean

It's been so over half a decade since the release of the timeless Freudian. Since then he's been much quieter than I had hoped, with odd loosies here and there, but thankfully 2022 delivered a song worthy of his name. Produced by the ever-great BBNG, Daniel spends the next 3 minutes (or so) letting us in on his confession — the unstable and trying relationship of his with his bride to be.

Singing:

Just how long will you stand next to me? For we both know, it's more than a load For you to bear / It'd break my heart, but I'd understand if you'd Leave me for another man with a little Less on his mind, less on his plate Less in his brain,"

The intimate nature of the lyrics is only magnified by the stripped back, acoustic production pieced together. Supposedly Please Do Not Lean is the introduction to his next album, which hopefully arrives sooner rather than later.

An Interlude 'Circus'

I was unfortunately whelmed by Saba's most recent album A Few Good Things. The fault lied with me, expecting Saba to keep his incredible streak going after the excellent CARE FOR ME; but it wasn't to be. That's not to say everything is doom and gloom with this LP providing another few outstanding tracks in the chicago born rappers repetoir.

An Interlude 'Circus' commited the cardinal sin, of a fantastic song being simply way too short. Clocking in at little over 60seconds, Circus is a beautiful, perfect for a summers day, quiet storm musical concotion, that only Saba could deliver with that unique cadance of his. I really hope eventually we get a longer version of Circus, but for now at least I can appreciate the fact I can run this track 3 times before your typical Abba song finishes.

Dark Hearted

I've always had a love / hate relationship with Freddie Gibbs. More often than not, his particular brand of modern gangsta rap rubs me the wrong way; skewing too far to the right for me to really appreciate. Yet, once every while, Gibbs delivers a song so good I can't help but pay attention; that's where Dark Hearted comes in.

Found on his latest album $oul $old $eparately, this is a level above anything Gibbs has come with i the past. Thanks to the once again ridiculous work behind the boards of James Blake, Gibbs has the dark and forebodding tapestry his carefully slick lyrics demand.

A relentless display by Gibbs, completely contrasting the moody production in the background running through his troubles moving from the streets to stardom. With the song really being tied together by Gibbs delivery; his innate ability to combine his dark lyricism with a much more accessible melodic delivery over this kind of beat results in a stand out song of 2022.

Hoping for more of this from Freddie Gibbs in 2023.

#music #end of the year list #lupe fiasco #jid #freddie gibbs #james blake #saba #idk #daniel ceasar #joey bada$$

[rainydawgradioblog]

New Blawgger: What I Listened to in March of 2022

Hello everyone! For my first Blawg, I thought I would share what interesting things I listened to last month, including stuff that I just discovered and stuff that I had entirely forgotten about and had the pleasure of re-listening to. I chose 10 to put here, but I’ve got a complete playlist:

"Raw" – Big Daddy Kane

Big Daddy Kane was one of the MCs to come out of the explosion of hip hop in the late 80s, an era where it felt as if the genre was making decades of progress every few months. Unfortunately, Kane seems to have been forgotten compared to the rappers that came just after him like Nas or Kool G Rap, but his best material holds up today. “Raw” is a cut of classic boom-bap with killer lyricism and wordplay for days.

"Yereyira" – Papito & Iba One

If you recognize this at all, it’s because it was sampled by Death Grips on “Get Got”, but you’d be surprised to find out that it originates from Northwest Africa. In the late 2000s and early 2010s, music was spread throughout the Sahara in a file-sharing network on Nokia cellphones, the most popular of which was compiled on the Music from Saharan Cellphones releases. This track is a Southern US-inspired rap song with possibly one of the most maddeningly catchy choruses I’ve ever heard (in a good way). I can’t speak for what the lyrics are about as I can’t find any translations, but the flows are fantastic, and the performances are filled with undeniable confidence and swagger. Perhaps the most fascinating aspect of this song is how it demonstrates the reincorporation of newer African-descended musical forms into older ones: hip hop is descended from the musical forms of West Africa, and when returned there, it feels completely transformed and revitalized.

"Left Hand Path" – Entombed

And here we get into my new love: Swedish death metal! If your only familiarity with the genre is Cannibal Corpse, then you’re in for a treat: riffs that manage to be melodic, but still sinister with a guitar tone that buzzes like a feral beast. The vocals from a then-17 LG Petrov (RIP) complement the atmosphere perfectly, but the real treat is just how well-structured this track is, every change-up adding some kind of intensity and tension and feeling fresh the whole way through. If you’ve never gotten into extreme music before, this probably isn’t the place to start, but if you want the cream of the crop, here it is.

"Trapped in a Corner" – Death

I hope that y’all have been patient with my metal indulgence in this article, so here’s the last of it. The late great Death have probably one of the most consistently amazing catalogues in all of music, with the album this song is on fitting squarely in the middle of their transition from old-school death metal to a more philosophical, progressive sound. This track has some surprisingly melodic riffs and guitar solos that I would even describe as beautiful (not a word that usually characterizes extreme metal).

"How Come You’re Such a Hit with the Boys, Jane?" – Dolly Mixture

Definitely whiplash from the previous entry, but much more accessible. Dolly Mixture are a deep-cut indie pop group from the first wave of the genre in the early-mid 80s. They never got as much attention as their contemporaries like They Might Be Giants, the Smiths, or even Felt, but they deserve it just as much. This song is a great little cheeky 60s girl group throwback that will win you over with its charm and funny lyricism. The spoken-word segment is the cherry on top – a moment of equal parts satire and snide venom.

"La Vida Mejor" – La Vida Boheme

Something that you’ve seen and will continue to see from me is that I’m a huge fan of non-Western rock – while I feel that the American and UK scenes are somewhat stagnant, there’s far more interesting material coming out of South America, Africa, Eastern Europe, and Asia. This band is from Venezuela, and this song is their hit from the Latin Grammy-nominated album Será, an ambitious politically charged modern indie classic which unfortunately has gotten almost no traction stateside. “La Vida Mejor” is an energetic dance-rock song full of distinctly Latin touches, especially in the energetic horns.

"Kodak Moment" – dltzk

They’ve already gotten a lot of attention in the online electronic underground, but if you haven’t checked them out already, dltzk (pronounced “deletezeek”) is worth doing so. Their songwriting combines a wide variety of very modern influences from emo to hyperpop. This song is a perfect encapsulation of their oeuvre, featuring catchy melodies with warped vocals and glistening keys getting split apart by extreme electronic glitch-noise (and, funnily enough, a sample of the Nintendo 3DS startup sound). The combination of levity and gravity in the lyrics, where a serious discussion of lost time runs into an oddly poignant Sharkboy and Lavagirl quote, perfectly captures the contradictions at the heart of Generation Z: doped up on cheap media, we attempt to find the beating heart at its core, recontextualizing the profane into the sacred and the meaningless into the center of our identity.

"Cellphone Machine" – Yun Head

If you’ve heard the name Yun Head, it’s probably from some…let’s just say less-than-stellar meme rap, but Austin Santiago has recently started to take music much more seriously, first with the Oat album last year, and now with the even-better Forever’s Forecast Demo single. The B-Side is the real draw here, a hyper-dense glitch pop love ballad (?) full of jazz-electronica touches and some hazy-yet-powerful bedroom production. Even though the lyrics are buried underneath layers of fuzz, the musical swells perfectly capture some kind of all-consuming warmth: the only line I can understand is "I can't help myself; he's the most beautiful person" - whether romantic or otherwise, it's a sentiment that the song conveys perfectly. At only 17, Yun has proven himself to be a fantastic producer with potential that I only think he's begun to reach. I'd stay tuned for what he has in store next.

"Congratulations" – The J. Arthur Keenes Band

If there’s a deep, obscure online underground, then the J. Arthur Keenes Band are underrated even there. A one-man Canadian indie project by Dan McLay that’s been putting out albums for over 10 years now, the J. Arthur Keenes Band features some of the best melodies and ingenious chord progressions I’ve heard anywhere, and their Beach Boys-meets chiptune sound is unique. Don’t let the cheerful sound fool you—McLay’s lyrics are dark and introspective (and unfortunately much too relatable). I'm not sure whether the searing sarcasm that runs through this song is directed towards someone else or McLay himself, but the weariness and fear of inadequacy at its core manages to be as terrifying as the music seems uplifting on its surface. Only the indie-pop noise which smothers the track hints at the venom underneath. Compared with the aforementioned "Cellphone Machine", it demonstrates just how versatile of a format lo-fi can be.

"Ceaseless Inexhaustible Child" – Ambrose Akinmusire

It seems as if contemporary jazz is unfairly locked away from the musical mainstream, only discussed by jazz musicians themselves or whenever a jazz musician features on a higher-profile album in a different genre. As such, Ambrose Akinmusire’s 2014 album The Imagined Savior is Far Easier to Paint deserves to be brought out of the shadows and come into the running of not only one of the best jazz albums of the year, but of all time. This song, dedicated to Cyntoia Brown, is tender, passionate, and beautiful beyond words. It’s a meditation on youth and its disappearance, the way that oppression affects marginalized children, and yet how they manage to stay strong in the face of seemingly insurmountable societal devastation. The vocal performance from Ladan Hussein is reminiscent of Nina Simone’s “Little Girl Blue”: melancholic, compassionate, and yet full of hope. Combined with the deeply expressive cries of Akinmusire’s trumpet, and you have an emotional tour-de-force which can wring tears out of even the most hardened hearts.

I’ll be writing about some of my other discoveries in another column called “Rock of Elsewhere” which will focus more on international artists. Stay tuned.

Stefan

#Spotify

[bisexualhobi]

i agree that it feels very short and especially on the first or second listen it was hard to get into it bc of that but the more i listened to it the more i liked the album and i do enjoy the mix of songs and how it shows off both his rapping ofc but also his vocal colors

there are some songs he really worked on to showcase his vocal skills and I love the versatility of his rapping cause he showcases different styles throughout - but overall as I said earlier it's as if intent overshadows content and the music just serves as a vehicle for him to show what he can do individually (a good vocal adlib in equal sign, a nice flow switch in safety zone) rather than... making a good song from start to finish? lmao idk there's very few things that you can say about the songs being good without clinging on to one or two elements.

he was so focused on showing he can do more than hope world that he forgot about the actual melodic and structural elements being as engaging as what he's saying he's doing

#asks

[thebandcampdiaries]

Lil Murky is back with a new album release: Emotionally Murked.

Lil Murky is back with one of his catchiest and most impactful releases to date: Emotionally Murked. The album has a modern and polished production, which really allows the mix to stand out for its clarity and depth. The low end is really fat and punchy, while the vocal sound is smooth and articulate. Lil Murky’s work has often been compared to artists the likes of Kid Cudi, Juice WRLD and XXXTENTACION, but he certainly has a character of his own, as opposed to simply trying to copy other influences along the way.

This release will hit you with the melodies of modern trap and the energy of old-school hip-hop, going for a timeless, yet modern feel. The artist is truly awesome at expressing himself, operating at a high level across the board. Not only is the songwriting on point, but the lyrical flow is also impressive.

The thrill of creativity is apparent here, and Lil Murky’s music sounds very innovative, yet catchy and timeless. However, there is also a very unique element to it, bringing such a relatable listening experience to the table.

We’ve also had the opportunity to catch up with the artist for an interview!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

The melody comes first always , as it’s the most rememberable part of the song. Which also makes it easier to write the rest of the song. Reason for this is, all you need to do is fill the gaps

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Definitely would fill more comfortable within the walls of a studio for sure , as it’s just me and this mic. But I can’t really have a say cause I haven’t performed yet.

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

Motions or lost the darkness for sure because there unique and mainstream to the point I could hear them on the radio. But also I get the most positive feedback for those songs the most

What does it take to be “innovative” in music?

Changing it up and keeping it fresh is exactly what this project offers ive messed around with 10 different genres such as Hyperpop ,melodic rap ,rock pop Ect.

And I keep trying new things in every song that comes

Any upcoming release or tour your way?

My next release will probably be late June or early July,

Which will be a single. I plan to drop monthly , to help grow my fan base

Anywhere online where curious fans can listen to your music and find out more about you?

Lil Murky

On all music platforms

[cyarskaren52]

“Thinking of a master plan…”

Rakim. Just saying his name evokes a certain image. He is Hip-Hop personified, and forever the standard by which emceeing is judged. Rakim Allah has been shaping and reshaping the artform for more than 35 years, and across his career, both with and without Eric B., he's revolutionized what an emcee can do with their pen. 

It's almost taken for granted that Rakim has one of Hip-Hop's strongest catalogs. Alongside Eric B., "The R" delivered a four album run that few artists can say they're able to match; from the groundbreaking and virtually perfect debut of Paid In Full to the stellar home run of Don't Sweat The Technique five years later. As a solo artist, Ra never pushed too hard for mainstream validation, opting instead to remain the rap game's most devout purist. That's who he has always been. Rakim is Rakim. 

So we had the unenviable task of putting together the 25 Dopest Rakim Songs. Here they are. 

#26

"ADDICTIVE" - TRUTH HURTS FEAT. RAKIM [BONUS SONG]

Our BONUS SONG pick is a celebrated classic guest spot! A smash from the late great Static Major and superproducer DJ Quik, it features one of Rakim's most smoothed-out verses. 

#25

"WHAT'S ON YOUR MIND"

This gem from the "House Party II" soundtrack was also one of the singles released from the final Eric B. & Rakim album "Don't Sweat The Technique."

#24

"WALK THESE STREETS" FEAT. MAINO

Rakim relishes in his elder statesman status on this track with Maino. Making it clear that funds and floss are just not who he is, Ra re-establishes himself as a voice of the people.

#23

"KEEP 'EM EAGER TO LISTEN"

An album cut from Eric B. & Rakim's third album, it shows just how much Rakim was continually pushing himself forward as a lyricist. It's also an early showcase for the brilliance of Large Professor. 

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#22

"MY MELODY"

One of the standouts on an album that's damn-near ONLY standouts, this is one of Eric B. & Rakim's best early tracks (ghostproduced by Marley Marl)

#21

"LOVE 4 SALE"

The Sue Raney sample is sublime. Mature Ra speaks on relationships vs materialism. The production is rugged but smooth, as Rakim breaks down the importance of a shorty finding love. 

#20

"CASUALTIES OF WAR"

Recorded just as George H.W. Bush was invading Iraq amid the Persian Gulf War, Rakim addresses the conflict of being a Black American soldier tasked with treating Muslims like the enemy. 

#19

"IN THE GHETTO"

Moody and melodic, Rakim's flow never sounded more immaculate than it does on this introspective track from "Let The Rhythm Hit 'Em." Props to Rudy Ray Moore.

#18

"HOLY ARE YOU"

Rakim's reputation as "The God MC" comes from two things; his stature as a rhymer, but also his penchant for weaving knowledge of self and mathematics into his rhymes. Example A is right here. 

#17

"WHEN I B ON THE MIC"

Rakim's solo career has been somewhat low-profile compared to his heyday with Eric B., but this is one of his best solo singles--from his underrated sophomore album, "The Master." 

#16

"NEW YORK (YA OUT THERE)"

A shout-out to his home city, this remains one of Hip-Hop's best odes to the Big Apple. With DJ Premier on the beat, it's a victory lap for classic NYC boom bap. 

#15

"LYRICS OF FURY"

Ra leans into the aggressive production and lets loose. Chris Rock once called this track "probably, lyrically, the best rapping anyone's ever done," and it ain't hard to see why he holds it in such high esteem. 

#14

"GUESS WHO'S BACK?"

It had been five years since Eric B. & Rakim's final album, and in the 1990s, that felt like an eternity. But the God MC came roaring back with his first solo single, announcing his return.

#13

"MOVE THE CROWD" 

It's somewhat ironic that a song about getting the crowd moving is so laid-back, but Rakim makes his point effectively. No mistakes allowed. 

#12

"MAHOGANY" 

Who says Rakim never raps for or about the ladies? A seductive ode to a mysterious woman, Rakim flows smoothly over a winning sample of "I'm Glad You're Mine" by Al Green. 

#11

"THE 18TH LETTER (ALWAYS AND FOREVER)"

One of the purest showcases of lyricism ever put to wax. Rakim breaks down the mathematics behind his famous initial as only he could do. A master class in rhyming. 

#10

"LET THE RHYTHM HIT 'EM"

The title track from Eric B. & Rakim's third album is a masterpiece. One of the most inspired flips of "Nautilus" by Bob James, it also features some of Ra's most innovative lyricism. 

#9

"IT'S BEEN A LONG TIME"

Another track released after Ra's five-year silence in the mid-1990s, it was another moment for the R to let anyone who didn't know exactly who he is as an emcee. 

#8

"MICROPHONE FIEND"

It's an emcee's mantra. Rakim made an absolutely brilliant parallel between loving the microphone and being addicted to dope; and highlighted the rush of one as compared to the other. 

#7

"DON'T SWEAT THE TECHNIQUE"

The "Rumpshaker"-esque video was the first appearance of Wyclef Jean, but beyond that, this is one of the greatest (and last) slices of classic brilliance from the game's greatest emcee/deejay duo. 

#6

"I KNOW YOU GOT SOUL"

We admittedly don't always think of the dancefloor when we think of great Eric B. & Rakim tracks, but this is the most party-ready groove the duo ever released. 

#5

"FOLLOW THE LEADER"

The second album from Eric B. & Rakim let you know that they were upping the ante in every way. Sonically, this is where those Coltrane comparisons become more apparent. 

#4

"ERIC B. IS PRESIDENT"

Have the votes been tallied? Rakim nominates his deejay in one of the duo's most beloved songs. Deejay tributes were a mainstay of 80s rap but none raised the bar quite as high as this one.

#3

"I AIN'T NO JOKE"

He let you know what was up from Day One. The first music video from Eric B. & Rakim also serves as the first music video appearance from none other than Flavor Flav. 

#2

"KNOW THE LEDGE"

The theme song to beloved 1991 hood thriller "Juice" is a lyrical tour de force. Rakim's flow is ice-cold and razor sharp, as he details a life of crime doomed to end in violence. 

#1

"PAID IN FULL" 

It's on the short list of greatest rap songs ever made. The sample of Dennis Edwards and Siedah Garrett's "Don't Look Any Further" would become a Hip-Hop staple, and Rakim's opening bars are embedded in the very fabric of this rap shit. Calling it "classic" is an understatement. Uber-essential.

Sent from my iPhone

#hip hop 50 #today in hip hop history #todayinhiphophistory #hiphop #hip-hop #hip hop #hip hop music #hip hop history #hip hop culture #music #history #music history #television #rap #rapper #emcee #mc

[gerogerigaogaigar]

The Stooges - Fun House

These feral little guys were just not content with how noisy their debut was and had to get noisier. Fun House aims to capture the live energy in the studio and it seems to have worked. Every crunchy nasty sound is perfectly preserved and the songs can get rambly in a way that feels very much like a live performance. There's more psychedelic peeking in during those lengthy jams, but there's also some delightful saxophone there as if imitating old school rock and roll as a joke. I love manic, noisy music so naturally I love Fun House.

Missy Elliott - Supa Dupa Fly

Its true, Missy "Misdemeanor" Elliott is in fact the bomb diggy. Her style of rapping is super casual and chill and it eases the transition from rapping to singing so well that you won't even notice it happening. Timbaland produces and he makes these groovy, psychedelic beats that match Missy's level of chill. But of course beneath the mellowness is a cool confidence. She isn't just here to be cool, she's also gonna let you know that she is top dog here. Both Missy and Timbaland had been around the music industry quite a bit before putting this record out and it shows. Most hip hop artists do not get this strong of a debut.

The Jimi Hendrix Experience - Axis: Bold As Love

What am I even supposed to say here? Axis: Bild As Love has some of the best guitarwork ever recorded. Obviously. Of course drummer Mitch Mitchell and bassist Noel Redding are no slouches either. The Jimi Hendrix Experience was an incredibly tight trio. Where their debut was very heavy and energetic, this album leans slower and melodic. The most well remembered songs being the flowing delicate Little Wing and the fuzzy spacey If Six Was Nine. Scolars have studied this album up and down to analyze all of Hendrix' technique. These scholars need to spend more time listening to genuine garbage ass music and gain an appreciation for the artists that can't play like Hendrix, but I digress. It's a really beautiful album.

Bruce Springsteen - Darkness On The Edge Of Town

Springsteen's last two albums had been full of epic swells and street opera stories. Darkness On The Edge Of Town humanizes those epics. He leans more towards hard rock and a less theatric sound. The songs feature more mature and more broken protagonists than on Born To Run. It's a reminder that for everyone that escapes there are many more that never get out of their dead end life and those people still are gonna lead fulfilling lives no matter what.

Neil Young - After The Gold Rush

So after the overwhelming success of Everybody Knows This Is Nowhere with Crazy Horse and Déjà Vu with Crosby, Stills, Nash, & Young naturally Neil Young decided to ditch 90% of his band and literally record an album in his basement. The only member of crazy hotse he brought along was guitarist Nils Lofgren who he had playing piano. This disastrous series of self sabotaging antics naturally led to... uh wait this album is really fucking good? I guess Neil Young can just do whatever the fuck he wants. Actually doing a raw and stripped down album with little of the rock accompaniement of his previous album or the lushness of CSNY was a brilliant move. After The Gold Rush isn't heavy, but it isnt soft either. Its rough and emotional. In the case of Southern Man it is outright bitter and the only rock song pn the album. The rest is very much country folk music.

Erykah Badu - Baduizm

The jazz influence, her voice, the subtle reference to Willow Weep For Me tucked in Appletree. It's clear that Erukah Badu knew she had the energy of a modern Billie Holiday. Despite being a clear exanple of neo soul the amount of jazz on display makes me want to also consider this an example of vocal jazz. As a mix of both styles it is completely beautiful. Badu delicately croaks through each track. The vocals lack of smoothness makes them so incredible against the walking bass and smooth synths. A completely stunning debut for a consistently amazing artist.

David Bowie - Hunky Dory

Bowie is at his highest levels of camp on Hunky Dory. Songs like Oh! You Pretty Things, Andy Warhol, or Kooks are so goofy that the only way they work is when sung completely sincerely. The laid back glam hits a perfect spot alongside mild psychedelia where you have some solid Bowie artistry with fairly accessible songs. Lyrically its all over the place, but Life On Mars is probably one of his most lyrically sound pieces. Hunky Dory kinda sits in this liminal space where it doesn't sound like a lot of things that came before or after it, but you can see echoes in both directions. This is probably as much a symptom of being from 71 as from Bowie's artistic influence but it still stands as a unique piece of art.

#500 album gauntlet #the stooges #missy elliott #the jimi hendrix experience #bruce springsteen #neil young #erykah badu #david bowie

[aintshitbiz]

Riichylee "Russian Cream" Single

Dashim Wan, better known by his stage name “Riichylee”, is an independent artist from the Bronx, New York. Today we present to you his single "Russian Cream". Riichylee states, "The song "Russian Cream" to me is me stepping and thinking outside the box, creating a range of witty thoughts & bars and adding them into my process to making a song. When I think "Russian Cream" I think backwoods and that is also why I named the song "Russian Cream", I played around and told my homeboy I’m about to make a song called "Russian Cream", being he had so many of them. Although I don’t really smoke, he does, so I was basically trolling his smoking habit and here it is today." Check out his single today.

Click Here to Stream via Spotify

Connect w/ Riichylee: https://twitter.com/riichylee https://www.instagram.com/riichylee_ https://www.facebook.com/Riichyleee https://www.youtube.com/channel/UCPSV2QRCvpy218osumrloeg https://soundcloud.com/therealriichylee https://open.spotify.com/artist/5GQn7F2vmgXvreX8GPXoX9 https://music.apple.com/us/artist/riichylee/1220398191 More about Riichylee: Who’s Most certain to change the music industry & get his message across to anyone with a set of speakers, with his versatility & Unique style of diversity (Riichylee) is an American Chinese rapper better known for his; swaggish, melodic, Vibeful music. “When I realized I had talent for rapping/Music that’s when I took it seriously. I felt like I could be big one day, so that’s exactly what I began to Focus on. Like I literally had dreams about it. “I Feel like Dreams Are Just Showing You, You At Your Highest Level” After years of perfecting his craft Riichylee began to take music seriously and decided to take his music career to the next level.

In 2020 Riichylee release his first debut single “Tpin” which picked up lots of feedback from YouTube, TikTok, & Instagram after gathering a total of 300k+ views in such little time, along with that came a bunch of comparisons to other artists. (“I don’t sound like anyone I just do me I don’t pay it no mind”). Far from the hustler look but very familiar with it, Riichylee grew his fan base social networking and performing locally every chance he could get. He then later started moving units digitally down to the traditional way hand to hand. Known for his Versatility & the ability to be so diverse, creating witty unique flows and lyrical content in the snap of an eye. Unlike many Riichylee like to freestyle his music for greater content and more feeling-full music. “I call it Swag Rap, but it’s still real at the end of the day” Highly certain and confident of his music guaranteeing he can make anyone sing along or bop to a beat. Riichylee mission is to talk to the people, show the world why he the greatest. “Everybody is great. I’m not the Greatest because I can rap, I’m the greatest because how I can do it”.

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AAP Deno Drops Lavish New Music Video 'Supa Ties' Featuring DJ Khaled and Raw Youngin

AAP Deno has released a new music video for his track "Supa Ties", featuring Raw Youngin and the legendary DJ Khaled. The music video features the artist performing in front of several luxury cars at a luxurious mansion, surrounded by their close friends and beautiful models. The video also features a special appearance from the CEO of their record label "Bird Vision Ent" Bird, adding to the grandeur of the video.

The music video is a perfect accompaniment to the track, which is a banger and features the artists' signature melodic flows. The song is all about how the artists are very connected and plugged in, no matter where they go. The chorus is infectious and is sure to have fans singing along in no time.

The video opens with the camera panning across a fleet of luxury cars parked outside a luxurious mansion. Inside, AAP Deno and Raw Youngin are seen rapping in front of a group of friends and models, all dressed to the nines. The energy in the room is high, and the rappers are clearly enjoying themselves as they perform the track.

As the video progresses, we see the artists enjoying a lavish meal with Bird, the CEO of their record label, clearly enjoying the fruits of their success. DJ Khaled makes a brief cameo in the video, congratulating the artists on their hit record and reassuring them that they have "another one" in the bag.

The video is a testament to the hard work and dedication of the artists, and their commitment to their craft. It is also a celebration of their success and the perks that come with it. The opulence of the video is a reflection of the lifestyle that comes with being a successful rapper, and it is clear that AAP Deno and Raw Youngin are relishing every moment.

Overall, the "Supa Ties" music video is a feast for the senses, featuring stunning visuals, catchy melodies, and a host of famous faces. It is a testament to the skill and talent of the artists involved, and a clear indication that they are here to stay. Fans of the genre are sure to appreciate the high production values and the infectious energy of the track, and it is sure to go down as one of the standout tracks of the year.

Have you been spending all your money and time on making music and shooting videos, but still not getting any exposure? Tired of just spinning your wheels? You know to get exposure you need to get featured on blogs, radio stations, playlist, and get your music e-mail blasted out to the masses. Need help getting all that done? Then check out the Package we’ve made available for you below!

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#AAP Deno #Raw Youngin #DJ Khaled #Supa Ties #Bird Vision Ent #rap music #luxury cars #mansion #music video #hip-hop culture #success #record label #catchy melody

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Video: R3my - Numbers

Introducing R3my a 24 year old rapper, producer, songwriter and engineer. Born and raised in the heart of culture and recreation known to be Brixton, South London. His music journey began from learning how to play the drums at the age of 10, before progressing onto making beat instruments aged 14. Without no hesitation R3my decided to take his music hustle seriously by being very individualistic; creating his own style, flow and in depth storytelling visuals to develop tracks such as: Backbone, Position, Clean and the follow-up single ‘Numbers’ which all influence Street Rap and Drill.

While recording and engineering music for himself and other artists, people in the music industry has honoured his craft enabling him to build a network of relationships. In result to this, 2019 saw R3my linking up with a team of creatives at a new label and music recording studio Pyramid Records. It just doesn’t stop there, there is more to come!

Lastly, the hot new single 'Numbers' is out now on Spotify, Tiktok and has already gained 7.6k views on YouTube. R3my has a strong belief in the power of manifestation and the significance of the number '369'. Although manifesting is about turning your dreams into reality, it does require you to take steps leading to wherever you want to desire. R3my has put into practise as mentioned by successfully running his own label and lifestyle brand 'Dream Big’. The South London rapper worked with his partner in crime Benihana Boy to fulfil narrative with attitude, confidence and an infections chorus forming this trap melodic bouncy banger.

Quote by Benihana Boy: "I've been in the dirt putting in the work"

R3MY on Instagram: http://www.instagram.com/r3mydb/ R3MY on Tiktok: http://www.tiktok.com/@r3mydb R3MY on Twitter: @r3mydb

Written by Vanessa Felix

#brixton #uk rap #Youtube