#which at this point consists of: 1. pick a banger song with a strong beat. 2. edit to the beat. 3. just use lots of clips it looks good

[patricksmusicblog]

DMX Discography Overview

It's Dark and Hell is Hot(1998): DMX's distinctive growl, aggression, and arresting flow is fully formed and at its highest potency here on It's Dark and Hell Is Hot. It's Dark and Hell is Hot is, for the most part, a dark menacing and street-orientated album. Some tracks even lean toward a horror-core vibe, "X is Coming" being the bleakest and most unsettling of the bunch. Still, there are deeply emotive tracks like Let Me Fly, Look Through My Eyes, and Convo, where DMX gets introspective and lets us in on his struggles internally and morally/spiritually. There are also hits here, like the hard but catchy "Ruff Ryders Anthem" and the chill summer jam "How's It Going Down." The album's production is handled by PK and Dame Grease, with the album's calling card produced by Swizz Beatz. On a broader level, DMX was a presence in the rap game filled some of the space that had been vacant since Tupac Shakur was murdered, passionate, aggressive, and visceral only specifically representative of the east coast. He also was the answer to the shiny suit luxury rap era Puffy was dominating with in 1997. The album is pure classic and certainly a top-tier album of 1998. Rating: 9.0/10

Favorite Tracks: Rough Rydahs Anthem, How's It Going Down, Intro, Crime Story, Look Thru My Eyes, Let Me Fly

Flesh of my Flesh Blood of my Blood(1998): Flesh of My Flesh Blood of my Blood was released in late December of 1998 cemented DMX as the biggest rapper of that year and late 90s in general(Jay-Z notwithstanding). Aside from the Beastie Boys, the album had the highest first-week sales in a highly competitive year. As for the quality of this one, It's more of DMX's burst of rough and jagged rhymes. When he's not menacing(which is most of the time), he's as introspective and pain-stricken as he was on It's Dark, and Hell Is Hot. The apex of that would be "Slippin," an iconic song that is amongst the saddest tracks in hip-hop history as DMX open shares the trauma of his upbringing, being an addict and struggling to get out of it only to find its way back in it and everything that surrounds that in his past. It's really the fight in the song that makes the song his willingness not to quit and keep trying that makes the song "I got to get up, get back on my feet so I can tear sh*t up." What keeps the album from being the classic his debut was is that Swizz Beats takes the helm on most of the production here, which is hit or miss. DJ Shok, PK, and Dame Grease have a lot of the best beats here. They bring out that dark energy and tone that makes for X's best work. All in all, it's still a great project and amongst his best work. Rating: 8.0/10

Favorite Tracks: Slippin', Dogs For Life, Coming From, Black Out,

...And Then There Was X(1999): ...And Then There Was X picks up were DMX previously left out brutal, pummeling bone-crushing violence come is to be expected. "One More Road to Cross" and "The Professional"(one of the albums hardest tracks) are early highlights. Then there's the heartfelt but mature writing of "Here We Go Again," one X's best tracks, and "More 2 a Song," the ladder of which speaks to DMX's avoidance when it comes to rapping about the flashy materialistic side of things. While this is DMX's third full length album, it sounds more like a full-fledged sophomore effort to It's Dark and Hell is Hot while Flesh of my Flesh' plays more as an extension, too, or a very good b-side to its predecessor. This album contains some of DMX most well-known hits it including his biggest "Party Up"(Up in Here), a high energy track produced by Swizz Beatz that finds DMX being peak DMX, the chorus is both funny and little corny, there's a good touch of humor in DMX's bars on the track that give it charm. Another well-known X track is "What these B*tches Want" ft Sisqo, a silly and misogynistic track that has its charm and humor but is a bit lacking as far as the chorus in my opinion. "What's My Name?" however, is a banger that's one of DMX's better singles and meant to be played at a high volume out of your car. ...And Then There Was X is another strong album from DMX, and its more consistent than Flesh of my Flesh' less visceral and hungry than It's Dark. 8.5/10 

Favorite tracks: Party Up(Up in Here) Here We Go Again, What's My Name, The Professional, Angel, More 2 a Song

The Great Depression(2001): DMX's fourth straight #1 album finds him trying new things. There are the rap-rock efforts like Bloodline Efforts, and I'ma Bang which will always be hit or miss depending on the kind of music listener you are. To me, they're listenable but amongst the corniest of DMX records in his catalog. The worst is the silly/sad "She Was Da Bomb" where X writes a track about basically impregnating a woman and threatening to be a deadbeat. Yeah, the lows here are amongst the lowest of his career. Transversely, "Who We Be," a socially conscious record, is one of DMX's best tracks ever, and "We Right Here" has a great beat and is amongst the best on the album. Aside from the hits, you get the heartfelt "I'm Missing You" and the thoughtful "When I'm Nothing". There are also more R&B sounds here which I think is a nice change of pace. The Great Depression is solid; it's less aggressive and consistent than any of the three albums before it; some songs really work, and a few don't. I think it's worth listening to; there are essential DMX tracks here, but I wouldn't consider the LP quintessential as a whole. 7.5/10

Favorite Tracks: Who We Be, We Right Here, When I”m Nothing, I”m Missing You,

Grand Champ(2003): DMX's fifth straight #1 album is even more boom or bust than The Great Depression is. Where The Great Depression had weird moments and tracks that didn't quite work. Here X doesn't sound quite as passionate as he does early in his career. In an interview he did on 106 n Park around the time of the album's release, he'd spoken about not making what he should off his music, and I wonder how much that put a damper on writing and recording for this album. When it comes to what's here, the menacing brutality and growl is here, but it isn't as consistently visceral as it was early on. At 24 tracks, it's also a long, over-bloated album but even shorting it; I don't think the bulk of the music here holds up through time. "Get it On the Floor," has a terrible chorus, and most tracks between 13-23 are forgettable. As for the best of what's here "Where the Hood At" Produced by Swizz is a classic DMX track it's hard and has a great beat and hook. "Dogs Out" Which features Kanye on production. Then you have "We're Back" ft Eve and Jadakiss, another highlight and features pretty good verses from all three, but I believe Jada had the best performance. The international version of the album features the track "X Gon Give It To Ya" another very good single from X. This is an interesting listen, and depending how die-hard an X fan you are you may still enjoy this. I think there are tracks worth salvaging, but it isn't an essential listen. 6.5/10

Favorite Tracks: Dogs Out, Where The Hood At, X Gon Give it to Ya

The Year of the Dog(2006):This is the point where the bottom really fell out on DMX's music. The highs here aren't amongst the highest of X's career, and the lows are certainly amongst the lowest—tons of generic and lackluster production, mediocre choruses. A weird rap/rock crossover. DMX's tenacity isn't as urgent or visceral, and a lot of what's here (tracks 2-10) sounds, sadly, like a caricature of himself(with "It's personal" as the exception). The best tracks on the album are sneak in at the end where you find songs like "Blown Away" and "Goodbye"; those are the most soul-bearing tracks on the album. As a whole, it's a below-average album that, aside from a few moments, The down turn reflected itself culturally and sells wise it was his first album not to go #1 and only to go gold, and by the mid 00s DMX wasn’t in most conversations when comes to being amongst the best . 4.0/10

Favorite Tracks: It’s Personal, Blown Away, Goodbye, Life Be My Song

Undisputed(2012): Undisputed was a well-intentioned, admirable comeback album for DMX.  There are some solid moments here "Cold World" Speaks on what he perceives as the rap game getting weak.  "I'm back" is one of the better tracks on the album. You can hear the pain coming through on "Have You Eva."  I like "Y'all Don't Really Know" because it comes close to some of his early work. Still, it just isn't enough; there are quite a few missteps on this album, whether it'd be the awful "Sucker for Love" or "I Get Scared" X sounds weaker vocally, and the production is lacking. There's some charm to "I Don't Dance" with MGK but it's somewhat awkward and not among his strongest singles.  It's better than Year Of The Dog but still far from the level of X's heyday.  5.5/10

Favorite Tracks: I‘m Back, Have You Eva, Ya’ll Don’t Really Know

DMX is an undeniable legend and quintessential to late 90s-early 00s hip-hop. His music and voice, and passion transcends its era and is easily felt now. His apex from 98-00' is highly recommended. Past that, it's a lot more hit and miss, but both the Great Depression and Grand Champ have some gems worth grabbing. Past that, it's even spottier but given X's internal struggles it was great we were even able to get those LPs. Fortunately, DMX seemed to be doing well and had finished an album before passing away, so I'm eager to hear what he'd been working on.

#DMX #discography #Rap #Hip-Hop #Music #Discography Overview #Late 90s #Early 2000s

[mc-doppomine]

My Ranking of Matenrou Songs

All done in good fun and is just my silly opinion. Music is totally subjective and what I find to like may not be what you come to like. So take everything with a handful of salt. Includes all of their album songs. I’m not including the battles as that’s probably deserving its own listing. Will throw Wrap & Rap and Lesson in there for fun too.

Overall, I think Matenrou is sort of hit or ‘eh, it’s fine’ for me. It’s either such a bop, that’s all I’m listening to for weeks. Or it’s one that I might go seek out either for researching purposes or it’s just specific mood. No real in between. And that’s probably because of the major differences in their members. It’s clear they were formed because of Jakurai’s eccentricity and fondness of it. And with any of the crews, I tend to like the team ones. I just like hearing different voices coming together. Especially when theirs is made to sound nice together. So yeah. 

13) Welcome U - It just didn’t feel like a Matenrou song for me. I’m sorry! I have no idea what Matenrou songs are but this just wasn’t it for me. I just didn’t vibe with it. Which is weird considering this was the first major song of Matenrou and technically my first since I did do the anime series first. But let’s put it like this, I can literally remember every other thing of the entire episode that featured this song...besides the song. Everything. But. The. Music. Of a series where the music is the focus. That’s not good. But to be fair, I more or less like one song from each team from the anime and Welcome U was not it for Matenrou. 

12) Papillon - Mmm, I dunno. I like the song in theory since it is very much them just kicking back and that’s cute. In practice? I don’t know how it didn’t click for me. I don’t think it was because of the talking because that was done in Ohayo Ikebukuro and I like that one. And I do find it fun as it absolutely sounds like them talking in the car. Maybe it���s just which styles blended together? I really can’t place why I do not like this one as much. Don’t hate it, don’t love it.  

11) Champagne Gold - I know! I know! I don’t know how we came to this considering I like Hifumi over Jakurai. But I just couldn’t get into this one! Maybe it was at a disadvantage because it was such a stark contrast with the others on the album. I have no idea. I do know I was a little put off by call back since it really just sounded like him in a higher pitch...which is fine but I’m pretty sure they just used a girl’s voice in an earlier part of the song and I just don’t get why didn’t use something like that for the call back. And too many champagnes. I am concerned for your liver, Hifumi.

10) The Champion - Poor frickin’ Hifumi. I’m sure he had to despair when he was looking through the verses of his teammates. Like do you guys know how to write a victory song??? Which is a shame because Hifumi’s verse and style was so suited for this sound. I honestly I don’t think it was the the verses so much as the chorus though? I know their voices generally sound deeper than most of the other divisions but felt like worked against them in this song. 

9) Lesson - And I think this is the last of my ‘I probably wouldn’t look it up too often’ songs on this list. I honestly thought Ramuda took the show in this one but I mean it kinda makes sense since this was him teaching Jakurai and of course Jakurai is gonna sound clumsier than him. I find this one really cute. It also was fun listening to how the beat switched up for every lesson. I think it’s only lower because I don’t have a way to listen to it consistently. But I do think of Jakurai actually ‘putting up his white flag’ to Ramuda and Ramuda able to point out Jakurai’s strengths was also super cute and also super sad thinking about what came after this. 

8) Party wo Tomenaide and You Are, Therefore I Am - Yes, I had a tie. Mainly because they have the same reasoning for being here. And that’s that they both have tripped me into their arms and not let me go. I wasn’t too into them before but both of them have grown on me. Ah, I think Party wo Tomenaide’s lyrics just ends up attacking my feels and it’s one of those pop songs that are actually sad and I don’t know, somehow that’s a subset of my music tastes. Meanwhile I wasn’t into the ‘being taken to church’ songs that are usual in hip-hop genre but I was really surprised by the content of the lyrics and it honestly sounds like Jakurai’s happy in this one. 

7) Fallin’ - This may have a slight edge just because I just think of that entire frickin’ episode when I listen to that song. And I dunno, anyone else feel like this was like them testing out if Matenrou could do the pace for what would be Tomoshibi? That’s what I feel like with that one. 

6) Labyrinth Wall - I feel like not a lot of people like this song. And I mean, I guess if I had think about the lyrics for a long time, I probably would be like ‘you okay over there Jakurai?’ But I dunno, the pace and the off-vocals? Banger. That swell into his chorus? Absolutely fucking great. Naaa...! Shindara doko ni--I chose this over frickin’ Tigridia for my ringtone for that part.

5) Tigridia - I originally had loved Tigridia first and that’s mainly because it was the first song I was listening to that used Doppo’s ‘natural’ voice all the way through. He has a nice voice! The sax is hella sexy in the background. Nice little bit of jazz. I’m surprised this wasn’t my friend’s favorite track tbh. But it eventually got beat out as my knowledge of hypmic grew.  

4) Wrap & Rap - Look. Look you can judge me all you want but this is one of those songs that could be played while I’m at some of my worst and I can’t help but smile at it. It’s my Sugar Song and Bitter Step. It’s a dose of seretonin and has to be parsed out because I have to go looking for this song if I wanna listen to it.  

3) Black or White - Yeah yeah, go ahead. Be unsurprised that my fave is at the top of the solos. But to be fair, I fell in love with Doppo’s verses and songs before I fell for him. Black and white ended up a hit for me with its vibe (although I admit I found a cover first and only realized when I going back through songs). When I learned the lyrics, I can’t help but smile and feel those words in my bones of miserable workdom. It makes my terrible shifts bearable.

2) Tomoshibi - I get so emotional over this song still. And it’s just. So. Vulnerable. I don’t know how to describe the feeling I get of actually thinking about the lyrics. And then just the music itself. It’s like a drive in the evening or early morning as it starts raining (I actually do often listen to this song on my morning drives). I’m never gonna stop getting got by the interjections of their teammates within their verses and how their tone changes after being picked up by that person. I can’t even with that--! It isn’t so slow it’s ballad-y but it’s not a dance thing. Which may be why it is just below my number 1. 

1) Shinjuku Style ~ Don’t Make Us Laugh ~ - If it hasn’t occurred to y’all by now, I’m a being in love with vibe of let’s fuck shit up and being a bad bitch. And that’s all I got from this song. Like how no one heard this song and didn’t go for the throat with these bastards is anyone’s guess. Especially since that Hifumi’s best diss verse and he chose VIOLENCE. And they just? Had such strong boss energy??? I don’t know how to put it! I love the mania of Doppo’s verse and also I continually laugh because he and Jakurai literally call Doppo and Hifumi some psychopaths. Like you wouldn’t think that dealing with them. Then you meet them on the battleground and you know it’s not an idle threat. This is one of those songs that if I had to get pulled over, let it be while I’m peeling down the highway to this. 

#song thoughts #matenrou

[asgardian--angels]

Recommend some good folk metal music please

:D i never thought i’d see the day when someone actually wants to know more about the music i listen to *cracks knuckles* my time has come

I apologize in advance for this novel. Feel free to skip to the recommended tracks lol.

Most folk metal comes out of northern Europe (Finland, heavily) though you can find it all over the world (Hu Band comes to mind but I mean, it’s on every continent). I am one of those people with like, a small handful of favorite bands that I listen to mercilessly so I am sure that I am only representing a miniscule percentage of what’s available out there. What’s great is that folk metal is much more versatile than many other genres in its sound; the essence of folk metal is simply to 1) utilize traditional (or rather, in the sense of a metal band, non-traditional) instruments such as violin, accordion, brass ensemble, bagpipes, what have you, and 2) have lyrical themes which revolve around regional folklore, mythology, cultural heritage, or place (what I particularly like is a frequent reverence and respect for nature). Other genres of metal (death, black) have the second element but not the first, and tend to incorporate darker overall tones and consistently harsher or lo-fi vocal styles and sounds. Folk metal can be a gateway genre into metal and can often be quite hopepunk (if you will). Because of these criteria, the actual sound of folk metal can range from sea shanties to ‘spooky walk in the midnight woods’ to scathing social commentary to SHOTS SHOTS SHOTS SHOTS SH

Basically you can find a range of styles within the genre that fit what you’re looking for, from those that have an orchestral, ballad feel, to things that border on death metal but have a hurdy-gurdy in there. There’s also a much higher percentage of female-led folk metal bands than other metal genres.

I’ll go through my top picks.

Turisas. These motherfuckers. My boys.

Turisas is based in Finland, but sing primarily in English (with occasional Finnish, a smidge of Greek and Swedish too). Four albums out to date, fifth in progress. Sound is absolutely fucking bonkers god tier shit, if I may say so myself. Every single song sounds like you’ve been transported into an Iliad metal musical. Heavy use of a full orchestra and choir, along with sick violin and accordion solos. Their lyrical themes focus heavily on ancient Greco-Roman and Viking military history - but before you raise any red flags, rest assured they’re liberal as fuck and trust me the tea is scalding when Mathias feels like making a Point about Then and Now. No seriously, I don’t know how to express the beauty and depth of his songwriting - Mathias Nygård is an incredibly talented composer, musician, and songwriter (nay, POET), and an extremely intelligent and down to earth guy. There are plenty of bands that are happy to write Viking songs about pillaging and glorious death in battle and all that (Alestorm comes to mind), those are a dime a dozen. Turisas makes history come to life in a way that transports you back in time and thrusts you into the living breathing world of the past. They deal with the horrors and tragedy of war from both sides, consequences and motivations, fears and pride and loss, home and family, despair and hope. They write songs about people, big and small, and their role in weaving the great tapestry of history. And the best part is that it’s informed - Mathias does his damn research and the tales he tells are rooted in fact. He brings them to life so we can experience what it must have been like for those real living people, with the goal of forcing us to confront our own selves in them. He’s a modern Homer, I shit you not. 

Did I mention there’s a song about pirates that’s actually really complex and nuanced, about how the hypocrisy and vile colonialist deeds of emperors makes them no different than the criminals they persecute?

Or that they do a badass cover of Rasputin?? yeah?????

Anyway enough gushing. Their second and third albums (The Varangian Way, Stand Up And Fight) are consecutive concept albums that follow the story of the Varangian Guard (the legendary Viking battalion that defended Alexander the Great) so the songs are actually chronologically linked to tell this epic tale. It’s a fucking listen, lads. The Varangian Way is probably my favorite album. But all their albums are top notch. 

My favorite songs: End of An Empire (this one comes for 2020 hard), Piece by Piece (AKA die fascists 2k20), Cursed Be Iron, Among Ancestors, Greek Fire, Miklagard Overture (you gotta earn this song tho, it’s the finale)

Good first listen picks/hits: Battle Metal, To Holmgard and Beyond, March of the Varangian Guard, Ten More Miles, One More

Finntroll. These other motherfuckers. My other boys.

Another big name in the Finnish folk metal scene. As you can see, their band revolves both aesthetically and musically around Scandinavian troll folklore. Yall weird elf-fuckers who like the really big ears? Here you go. Look at those ears. They’re good friends with Turisas. Both love their facepaint.

Musical style leans much more towards black and death metal influenced, with a heavier, fuller sound and growling vocals. But it’s an incredibly rich and creative aural tapestry, with layers of masterfully executed sound that’s a real delight to lose yourself in. Use of fiddle, brass, keyboard, accordion, and banjo, and strong folk melodies make their sound unmistakable and unique. They are known for their ‘black humppa’ beat, which basically gives the effect of feeling the primal need to stomp around loudly to their music. It’s great cardio. They also utilize orchestra in some great intro tracks. They know their stuff.

The majority of their songs are sung in Swedish (they do some English cover songs which are FANTASTIC holy SHIT), but don’t let that stop you. The mood and power and emotion of their music transcend language, and you can be sure the lyrics are about either trolls, witches, the dark woods, spirits, or something of that ilk. I think Swedish as a language works very well with this kind of music, and honestly having it in English would lose something. 

They have been around a long time and so have many albums, but I personally have only listened to the last three which feature their current singer, Mathias Lillmåns, whom I adore. Those albums are Nifelvind, Blodsvept, and their recent release Vredesvävd (that i’ve had on repeat since I got it three weeks ago). I’m sure their other ones are great too, I just can’t make a personal recommendation since I haven’t heard them. 

My favorite songs: Galgasång, Tiden Utan Tid, Ylaren, Skogsdotter, Två Ormar, Ett Norrskensdåd, Skövlarens Död

Good first listen picks/hits: Forsen, Under Bergets Rot, Häxbrygd, Trollhammaren (older song), Solsagan

I’ll go through these other ones a little faster, I haven’t heard quite as much from them but I do love them.

Korpiklaani. 

Great, full folk sound, utilizes a lot of folk instruments including some less commonly seen ones like hurdy gurdy. Songs are mostly in Finnish but plenty in English too. Jonne Järvelä has a really unique voice that grows on you, but it’s not for everyone. The band started as Sami folk, and Jonne is trained in Sami yoik singing, which makes an appearance in a few songs. I prefer the Finnish tracks, as a lot of the English ones are drinking songs lmao. But again, really well-executed music with layers of sound that keeps you hooked. I haven’t heard enough of their discography to really recommend enough to cover everything. 

Song picks: Minä Näin Vedessä Neidon, Metsälle, Ämmänhauta, Lempo

Moonsorrow.

Definitely a darker, black-folk band. Probably not a great pick if you aren’t accustomed to black metal - very long tracks (8-15 mins is standard), growling/shrieking vocals, a ‘thinner’ but encompassing wall of sound usual of black metal, but with the benefit of wonderfully entrancing dark folk elements and chants. It’s done really really well. Sung almost entirely in Finnish (apart from cover tracks). Lyrically, focuses on themes of Norse mythology, man vs nature and similar elements. Definitely one of those bands whose music gets you into a zone. I can lose serious time just putting a whole album on and letting my mind wander elsewhere. My favorite album is Jumalten Aika. 

Song picks: Ruttolehto Sis. Päivättömän Päivän Kansa (my fucking FAVORITE), Suden Tunti (well known hit), and also uhh check out their cover of Non Serviam cause it’s a fucking banger

Other bands that I like what I’ve heard but really can’t say much about them, whoops - Tyr (from the Faroe Islands, great stuff, Faroese is a baller language), Ensiferum, Nightwish (female-led).... I’m open to suggestions. Like I said, there are folk metal bands all over the world, and each is intrinsically linked to a sense of place and cultural identity that makes them unique. I’d love to hear about more tbh. 

#koschei-the-ginger #folk metal

[swimintothesound]

In Defense of DJ Khaled

I'm not one to defend mediocrity. Some things are just aggressively “alright” and DJ Khaled tends to be one of them. He's not an artist in the traditional sense of the word, in fact putting him in a box is actually kind of hard. He's a Snapchat-famous DJ, record producer, and meme machine with just a few more catchphrases your average Saturday morning cartoon character. While his musical contributions tend to be nothing more than shouting his own catchphrases in between (or directly over) a rapper’s bars, he also serves an important role as a Nick Fury-like assembler of talents.

In the wake of this year’s Grateful, I’ve found myself reflecting on DJ Khaled’s prior release with a surprising amount of fondness. While I won't defend mediocrity on an artistic level, that’s not to say there isn't a time and a place for it. The real problem is most DJ Khaled albums are the musical equivalent of throwing shit at the wall and seeing what sticks. Sometimes you’ll get a Drake-bolstered summer anthem, or strike gold with an unexpected artist pairing. But more often than not you’ll end up with a by-the-numbers hip-hop track that feels market tested as fuck and sounds like six different people all sending verses to each other via email over the course of months.

And I can't tell if it's nostalgia for summer 2016 or genuine appreciation, but Khaled’s skill as a musical host has never been more on a more impressive display than 2016’s Major Key. In fact, I’d go as far as to say it’s a flawless album. Now before you close the tab let me explain myself. I don’t mean flawless in that it stacks up to The Beatles or anything, I mean that every track on it is great and serves a different purpose.

While I usually hate track-by-tracks, I think Major Key is an album that would benefit from this type of dissection. There is honestly an impressive number of sounds being explored on this album. The collaborations feel fresh, and Khaled’s typically-shoehorned catchphrases actually fit into the album unobtrusively. It’s not high art, but it’s an incredibly-varied selection of songs that ends up feeling more like a curated summer playlist than a record by one man.

I guess that’s a point against the album since I’m basically saying Major Key is good because it doesn’t feel like a “DJ Khaled album,” but his skill here wrangling the number of artists and sounds is worth writing about. He’s a host and curator, and this album is the most consistent of his career. It’s commendable, especially when contrasted with the uneven follow-up we just received.

1) I Got the Keys (feat. Jay Z and Future)

Major Key begins with a fittingly-named banger that allows Jay-Z to don his jewelry and flex for the world once again. The track sees Future relegated to the song’s chorus while Jay-Z comes in with two of the best verses we’ve heard from him in years. While the recent release of 4:44 signals a more grown-up and fatherly shift in Jay’s sound and topics, it’s nice to have one (possibly final) send-off to Big Pimpin’-era Hov. Yes the chorus is repetitive, but 2016 was host to a rash of intentionally-repetitive Future-led choruses (including a second one later on this very album). I like that these songs are using Future for his unique textured voice as opposed to his tired lean-soaked raps. As a whole, the song has a hypnotic siren-like beat that Jay rides nicely and it ends up serving as a perfect energetic opener.

2) For Free (feat. Drake)

A Drake feature is practically a tradition on DJ Khaled albums at this point. In addition to the pair’s storied history, a Drake feature almost guarantees a song’s commercial success and a nomination for the elusive “Song of the Summer” title. Released as Major Key’s first single, the song did numbers but failed reach the pervasiveness needed to truly become the official song of the summer (despite Khaled’s claims on the song’s outro.) It’s still a nice bouncy Drake track that’s pool-party-ready, and furthered Drake’s exploration of the dancehall-esque sound.

3) Nas Album Done (feat. Nas)

On “Nas Album Done” Nas himself commandeers an entire track simply to spit bars for three minutes straight. With no chorus, and minimal intrusion from Khaled, this is a song of pure hip-hop proficiency that addresses the political climate of mid-2016. The title refers to Nas’ (still-unreleased) forthcoming album which will be his first in over five years. As such, this Fugees-sampling track serves as an appetizer for the bars to come on his next record.

4) Holy Key (feat. Kendrick Lamar, Big Sean, and Betty Wright)

Easily the track I’ve listened to most off of the album, “Holy Key” is a fast-moving and hard-hitting pump-up jam. The song that calls to mind Sean and Kendrick’s previous collaboration, the world-concerning “Control” which was a pivotal moment for the hip-hop scene as a whole. While “Holy Key” doesn’t quite recapture the fire of “Control” (a lot of time has passed since 2013) it does manage to capture a particularly-strong Big Sean verse and one of the most ferocious features of Kendrick’s career.  

5) Jermaine’s Interlude (feat. J. Cole)

After the abject fire of “Holy Key” things slow down a bit for a bit of a breather on the J. Cole-helmed “Jermaine’s Interlude.” It provides some much-needed pathos after the blitz of hyper-proficient verses on the first few tracks of the album. The interlude throws bone to the very specific yet ravenous fan base that J. Cole has cultivated since his breakthrough 2014 Forest Hills Drive. The mellowed-out track injects more of a “conscious” sound into Major Key that breaks up the album’s themes and showcases a surprising amount of well-articulated topics for an interlude.

6) Ima Be Alright (feat. Bryson Tiller and Future)

In the album’s most flaccid track Future and Bryson Tiller trade verses over a dreamy beat that continues the slower late night vibes of the last track. The song showcases a particularly-animated Future verse that’s sandwiched in between two remorseful Tiller hooks that discuss the pratfalls of fame. It’s capped off with a verse from Tiller and a surprisingly funny outro by Khaled.

7) Do You Mind (feat. Nicki Minaj, Chris Brown, August Alsina, Jeremih, Future, and Rick Ross)

From there the album continues its stretch of slower tracks with the overtly-sexy “Do You Mind.” The track combines Chris Brown and August Alsina vocals to create an earworm of a chorus that Alsina then commandeers for a short verse. From there the two throw to Jeremiah who adds a third layer of R&B sexiness before another chorus swaggers in. The track takes a hard turn as Future and Rick Ross come in with two short verses, but Nicki caps it all off with an incredibly-sung bridge right before the song’s end. It’s a radio-ready R&B track that sounds different than anything else on the album. With a packed guest list, this is a song “for the ladies” and it does its job well.

8) Pick These Hoes Apart (feat. Kodak Black, Jeezy, and French Montana)

As you would expect from a song with this title, “Pick These Hoes Apart” represents a shift back towards full-on hip-hop within the album. Featuring some of the most objectively-disgusting lines on the entire record, the song still gets some points for bringing together such a disparate group of rappers and shining a light on Kodak Black right as he was blowing up. It shows a lot of foresight on Khaled’s part. It’s also worth noting that the track features a great verse from French Montana who I’ve never particularly cared for, but he manages to utilize his brand of slurred half-sung rap here on a beat that sounds like it was made for him.

9) Fuck Up the Club (feat. Future, Rick Ross, YG, and Yo Gotti)

The album’s hip-hop mode is decidedly back in full swing on “Fuck Up the Club” which features the album’s second supremely-repetitive Future hook, a roster of legit street rappers, and an absolute banger of a beat. The track sees YG and Yo Gotti at the height of their powers after their high-profile releases of Still Brazy and “Champions” respectively. Everyone comes in with heat, and the track’s beat is relentless with little breathing room for anything besides explosive forward momentum.

10) Work for It (feat. Big Sean, Gucci Mane, and 2 Chainz)

Arguably one of the most star-studded tracks on the album, “Work for It” subverts expectations by being a bit of a slower track that finds Big Sean at the helm. It really does telegraph the sound on Sean’s upcoming I Decided. but remains a track that fits its other guests suitably. It’s apparent that the recently-released Gucci and always-humorous Titti Boi were both in “creation mode” on this track amidst a slew of their own 2016 releases. It may not change the Big Sean hater’s minds, but it’s a left turn that I didn’t see when first listening to the album.

11) Don’t Ever Play Yourself (feat. Jadakiss, Fabolous, Fat Joe, Busta Rhymes, and Kent Jones)

With a lineup of guests who are all in their 40’s (Kent Jones notwithstanding) I see “Don’t Ever Play Yourself” as the dedicated “oldhead” song on the album. Reminiscent of Compton’s “Loose Cannons,” or “One Shot One Kill” this track sounds like a different generation of rappers who all decided to hop on a track with one thing to prove: that they’re far from “too old this shit.” It’s apparent why these rappers have all stuck around, they all have different voices and at this point, they’ve honed their craft enough to make it all look effortless.

12) Tourist (feat. Travis Scott and Lil Wayne)

“Tourist” had been floating around the internet for about a year at this point as a semi-unfinished Travis Scott solo song. In its appearance on Major Key, we hear a remastered version with a surprise Lil Wayne feature added on and (luckily) little-to-no Khaled yelling. It’s a hazy track that retains the signature Travis Scott sound while echoing 3500’s drowsy unwinding instrumental.

13) Forgive Me Father (feat. Meghan Trainor, Wiz Khalifa, and Wale)

When Major Key’s tracklist was officially released a few weeks before the album’s drop, I remember one thing concretely: the internet’s reaction to this song’s feature list. First off: what a weird collection of people. Second: Wiz is washed. Third: Meghan Trainor? The “All About That Bass” chick? I don’t know why, but I’d like to pat myself on the back for believing that this song wouldn't be as bad as everyone was expecting it to be. I may just love being a contradictory fuck, and maybe it’s just because I went in with low expectations, but I find “Forgive Me Father” a corny, yet inspirational song that isn’t offensive in the least.

14) Progress

The last song on Major Key sees Khaled ceding Major Key to Jamaican singer Mavado. This is actually the second time this handoff has happened (with the third instance occurring on 2017’s Grateful) perhaps signaling a new inner-album tradition. It’s a tropical island song that calls to mind flashes of Khaled’s snapchat stories watering and talking to his flowers in a sunny yard. It’s a “full circle” song about progress that serves as the perfect conclusion to the album by encapsulating everything we’ve heard up until that point.

Major Key has a little bit of everything. Like most DJ Khaled records you could cherry pick single songs for the right mood, but it also holds together surprisingly well as an album. There’s no “journey” or “resolution” but you could easily sit down and listen to all 58 minutes of this and enjoy yourself. It’s a great summer album and has enough variation to keep you wondering (or excited for) what’s coming next. It’s a “playlist” before Drake did the same thing a year later. That’s not to say all DJ Khaled albums aren’t playlists (because they’re all like this) but Major Key is the first time it crystallized into something substantive that was fully enjoyable from beginning to end.  

In contrast, 2017’s Grateful is overly-long (21 tracks and almost 90 minutes) and released in direct contrast to Calvin Harris’ polished Funk Wav Bounces Vol. 1 which did the “DJ Khaled thing” in a better, more pointed way. But all this said I do believe Major Key to be a legitimately great hip-hop album that stands on its own. I’m honestly in shock I was able to write 1,000+ words about it, and I guess that endorsement speaks for itself more than my praise ever can.

It’s an interesting dichotomy because Grateful featured songs like “I’m The One” and “Wild Thoughts” which were unequivocally more successful than anything off of Major Key. It ties back to the discussion I carried out earlier this month about the crossroads between commercial success and artistic fulfillment. Major Key was no flop, but by all accounts Grateful is shaping up to be a technically more successful album. I think that Major Key stands on its own better on an artistic level, but there’s certainly a difference between the two records.

“I’m the One” has been an earworm (and chart-topper) since its release as a single in late April, I’ll give it that. But I’d still pick Major Key over it, even if it doesn’t have the “single power” of Grateful. And (to circle back to the original topic) I’m not saying Major Key is high art. This shit isn’t Abbey Road, It’s not Darkside, it’s not even Cat Scratch Fever. For as much as I wrote above, I still think this album is only one step above mediocrity on an artistic level. It will probably age horribly in a few years, it has some questionable lyrics, and as a whole, it’s just a good collection of tracks rather than a compelling vision carried out by one creative force.

The point is, even with all those things weighing it down, it’s great at what it needs to be. Grateful isn’t as good as what it needed to be (which was the same thing as Major Key), but in the end, they both pale in comparison to albums that were crafted with time, care, and artistry. I’m not saying DJ Khaled isn’t those things, I’m just saying Major Key succeeds in every goal that it sets out to do. It doesn’t aim high, so it shouldn’t be judged on that level. Major Key is a stellar collection of incredibly-varied tracks that bring together a wide roster of hip-hop artists large and small. No two tracks sound alike, DJ Khaled plays an excellent role as artistic curator, and everything comes together nicely. On that scale, it’s as far from mediocrity as you can get.

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