Wadddup Waddduuuup Steemville, Miss Boujee and her Sunday Tunes week 3. So my Discover Weekly on Spotify was on fiyahhhh. Right on point. A few made the list this week. Oh, my I just had to switch it up. You know to bring a lil different flavor. Everyone has their own taste in music. Lately, I've been wanting to find the different artist in the hip-hop community that I've never heard of. A lot of artist gets passed by I'm so guilty of it. This blog is forcing me to go back to the basics. Listening reading discussing. Any way Boy I found some jewels. Heyyyooo That is why Spotify is great it digs up jewels you know from 2013. I feel like a little bit of hip hop in your life never hurts. I also put some instrumentals on the list (could be inspiring to some writers out there). Some songs require no emcee no singer. I love it. There is a playlist on Spotify that is called Lofi hip-hop beats. Literally, every time I go to it its different producers every time. The mix is like a big bowl of hearty soup. I highly recommend it if you're doing anything that requires a little background noise. A little bit of RnB, of course, I had to put a few in the mix. I hope you enjoy this playlist.
Although the soulful melodies of Chia’s voice have the ability to easily mesmerize its audience, it is the subject-matter of each song that connects the listener furthermore as the subject of love, relationships, inner conflicts, and much more are tackled. This project is well crafted and fulfilling to music lovers ears.-Sogutsy.com
Love Love the visuals on this project.
Found us with the long awaited new project, The Sun’s Tirade, from the young’n of Top Dawg Entertainment, Isaiah Rashad. Ever since his main tagged dopeness from 2014, Cilvia Demo, the southern rap prodigy has been buzzed about in critic circles, yet hadn’t made much noise about up coming music. Recent word is that he was struggling with drugs and alcohol…overcoming those huge boulders has allowed him to present his best work to date with this incredible introspective album. Now comes a super cool video of Isaiah and his son, bouncing on the Boardwalk of a beach scene and jumping from dollar to dollar in a digital display that puts your perspective in question of what really matters. Is it money or memories? Check out the vid and enjoy the grooves of the single as it totally represents the jazzy mood of the album. TDE has done it again..-Vibe.com
[Intro]
Beat tight as fuck. Turn up! Turn the light off, Des, turn it down. Aye, you roll up? You’ll roll up for the boys? For the Squad? Nah, that’s Ty job right now. Aye, check me out
[Hook]
If I can pay my bills, I'm good, I'm comin' over
Found a message in my bottle your son is comin' up
By the beer, by ear, by boo.. what Yari saying?...
You ain’t nothin' but a baby, your fear is growin' up
Listen here I say my dude and what you call it
It was heaven at the bottom and peace from throwin' up
By the beer, by ear, by boo.. what Yari saying?
You ain't nothin' but a baby, your fear is growin' up
[Verse 1]
I think I do this shit forreal dawg
Hey, I ain't no motherfuckin' maybe
I'm for motherfuckin' real dawg
Hey mama, mama
I got some dollars for your bills, tho
Hey, now I'm the hit and I'm the topic
All that matters I'm Jaleel dog, (Jaleel dog) hey
You know I think the sunshine
Should feel how I feel, how I feel like yeah
I think at night time, the moon should call my phone
Hit my line, I'm here for you
And East side shame on us
Rain come on now
I figured the mood
I figure, I figure
[Hook]
When I pay my bills I'm good, I'm comin' over
Found a message in my bottle your son is comin' up
By the beer, by ear, by boo.. what Yari saying?
You ain't nothin' but a baby, your fear is growin' up
Listen here I say my dude and what you call it
It was heaven at the bottom and peace from throwin' up
By the beer, by ear, by boo.. my Yari saying
You ain't nothin' but a baby, your fear is growin' up
[Verse 2]
I got a dollar and a stop in Kansas
Toto to do or do not, do not forget me
I been wylin' Santa, pop and rock 'em
Lord forgive 'em for the talcum powder
Alright now stretch it, bless it
Bless it my brother and his record
On the record, for the record
Hey, and play it back cause they respect us
Alright now I got the moon and the stars below my feet
So low I speak
So I don't wake them, praise the Lord, the God in me
Who made me spoiled with rotten teeth
So I perform the prophecy
And on the norm the plot could be
To be expressing who we are and addressin' who they aren't
And doin' what they can't...and want
[Hook]
If I can pay my bills, I'm good, I'm comin' over
Found a message in my bottle your son is comin' up
By the beer, by ear, by boo.. what Yari saying?
You ain't nothin' but a baby, your fear is growin' up
Listen here I say my dude and what you call it
It was heaven at the bottom and peace from throwin' up
By the beer, by ear, by boo.. my Yari saying "you ain't nothin' but a baby, your fear is growin' up"
[Outro]
Hey, hey, hey, hey
Much has changed for Mick Jenkins over the last six months. Jenkins, the preacher ever cognizant of over-preaching, signed to Cinematic Music Group, shared a stage with Earl Sweatshirt, and earned a half-million views on a music video for the song “Martyrs.” But The Water[s] does exactly what Jenkins said it would. It’s moralistic but avoids a simplistic dualism that separates things into light versus dark. It’s on point with its analysis of the problems permeating our culture but never absolving Jenkins of his own self-doubt. Though sonically accessible through languid beats, concise hooks and Jenkins’ booming baritone, The Water[s] is an incredibly challenging project that requires multiple listens to fully disentangle its ethos. As he raps on “Healer,” which samples Dream Koala’s “We Can’t Be Friends,” the topics range from “her innermost thoughts to all the triflin’ shit on WorldStar,” and the messages on the pluralistic Water[s] can be purposed for everything from the crisis in Ferguson, Missouri and the state of mainstream Hip Hop, to a ride on Chicago’s L train. Jenkins is aware of how trite taking the pulpit feels and The Water[s] is full of lessons, but its lectures are rare and so is the condescension commonly associated with overt righteousness. The tape’s title track finds Jenkins admonishing those that weigh gold over lives, but it begins with a sober acknowledgement that the bank is declining his card. The two verses on “Vibe” discusses the consequences of a lost perspective, but not without Jenkins admitting that he was too caught up in his career to visit his dying grandmother. On the Statik Selektah-produced “Black Sheep,” he interrupts a celebration of what makes him stand out from the herd to remember when he wished for his friends’ parents instead of his own.The Water[s] finds Jenkins reaching many boiling points, several of which occur over the fluid and airy strings of “Drink More Water.” Some are delivered with restraint (“irritate the white skin like a blackhead”), others with feverish urgency: “Have everyone panicking / Like when Danica Patrick got good with the handling / Dismantling the plans of the industry management / Nigga might’ve said too much, ain’t we supposed to still be slaves / Nigga might’ve read too much / Saw a rape taking place in my face in the hood / On some Drake shit, nigga might’ve cared too much.” The dour “514” has him toeing the line between indignation and hopelessness, often in the same bars: “Serve and protect, like protect your pockets and servin’ subpoenas / Whole shit a circus and they ain’t even servin’ us peanuts / I learned this back when they was servin’ us free lunch / System ‘bout as foul as a free throw / Tell me what the fuck a nigga know about a free thought / If everything that he thought stem from a remote,” he raps on the track’s first verse. The project’s zenith comes on “Martyrs,” which flips Billie Holiday’s “Strange Fruit” into a lament on senseless killing. Jenkins hangs himself in the visual, but comes back brazenly snarling with Cinematic labelmate Joey Bada$$ on the finale, “Jerome.” It’s liberating but not exactly celebratory; Jenkins raps chest out and demands to see hands in the air—more threat than formality—while Bada$$’s stellar finish adopts a dingy growl reminiscent of Osirus in ‘95. That’s not to say that The Water[s] is all hard times. The project is dominated by sumptuous samples and beats that crash and ripple over Jenkins’ low tone. The elusive NoName Gypsy drops a guest verse of charismatic non-sequiturs on the upbeat “Get Comfortable,” and The Mind (of Chicago production team THEMpeople) delivers impassioned, woozy hooks on “Shipwrecked” and “Dehydrated.” “Vibe,” arguably the project’s best song, is as much a mature smoker’s anthem as it is a meditation session. And though his flows come off facetious, the hook on “Martyrs” doubles over tropes we often see in Hip Hop and seeks to expose their shallowness. The Water[s] is one of the most accomplished releases out of Chicago this year, but it’s not sensitive to time or location. Rather, the 23-year-old Jenkins raps about longstanding issues that are both institutional and individual. He’s keen to point out the bullshit that clouds our day-to-day, but more importantly, he readily admits when the solutions can’t be found.-Hiphopdx.com
The Sweetest Pain
by Dexter Wansel (1979)
is sampled in this record.
The art of sampling and hip-hop beat production has long been a tradition of genre-blending and boundary disintegration. Heavy bass and powerful, stumbling electric heartbeats revive and invigorate bits of jazz and soul. During it’s humble beginnings, the sampler became a powerful metaphor for the inevitable direction of music culture towards global relevance and a freedom to build from our creative past. Fitting with these themes of boundary dissolution, the modern beat world has been graced by the creative genius from an unlikely location, Australia. Ta-Ku’s latest LP Dowhatyoulove packs eighteen polished tracks and has been released via the Berlin label Jakarta Records. Heavily inspired by the late legends of February the 7th, Ta-ku has released tributes to both J-Dilla and Nujabes. And like those beat geniuses who came before him, Ta-ku proves with this record that he can grow his roots deep, crafting music that ignites passion and soothes the soul. Dowhatyoulove emits a message of joy and hope, and thankfully it sounds like Ta-ku has taken his own advice. Sticking to the perfected style of J-Dilla and other progressive beat-smiths, this record features short, lushly produced tracks usually centered around a jazz or soul sample. Ta-ku’s gift is his ability to reach new levels of musical, textural, and rhythmic complexity while hiding the seams of his work. Although the featured samples have been re-imagined and re-contextualized, the finished products stand gloriously on their own, emanating the joy of someone who is truly doing what they love. As a whole the album leans more towards the side of texture-beat tradition, but it is rock-solid all the way through. I don’t mean to say it tells a story or reaches a climax, but rather that each tune measures up to the last; there are no low points. Plus, since Ta-ku creates sufficient variation in aesthetic, mood, and style throughout the LP, this high-standard consistency results in a record that leaves no room for track-skipping. The third tune, “Make You Wanna,” is guaranteed to slap a wide grin on any music fan featuring a dope soul sample so tasty you could lick the vinyl. Tracks like “Color Her Sunshine” and “See Me Through” showcase Ta-ku’s joyful smooth-as-silk production style and general chilled-out atmosphere, while tracks like “Someone Else” and “Chop” push the art of sampling to new heights while staying true to the tribal power of locked-in percussion. The lesson is clear, do what you love, and while your’re at it, listen to Ta-ku do what he loves.-Inyourspeakers.com
[Intro]
Ta-ku, Ta-ku Ta-ku
[Bridge]
Make you wanna
Reevaluate
Make you wanna
Reevaluate
[Chorus]
Make you wanna work
Redecide your fate
(fate….fate...fate)
Yeah
Make you wanna work
(work work)
Redecide your fate
(fate….fate...fate)
[Outro]
Make you wanna work
(work work)
Redecide your fate
(fate….fate...fate)
The Florida teenager Chester Watson is a rapper in the mold of Earl Sweatshirt or MF DOOM. His latest cassette-only release works a similar mood: It's all cracked psychedelia, off-kilter weirdness, and a dedication to a lifestyle with time built in for Saturday morning cartoons, cereal, and pontificating about the world through blunt smoke.nderground rap suffered a bad patch for awhile there in the mid-'00s. It was hard to have fun listening to music that didn’t even sound like it was remotely fun to make, and so much of it felt like attending a lecture that you immediately knew you didn’t want to be at. Besides, it’s an insular world, built on obsessive minutiae and indecipherable jokes, and is usually defined by a focus on lyrics over song structure. If you have ever cared about underground rap, you have not only thrown the word "lyricism" around with abandon, you’ve also debated what it really means for 27 years of your life, even if you are only 16. It’s a commitment so heavy that it transcends space and time. In recent years, though, that’s changed. Thank Earl Sweatshirt. Or thank Kendrick Lamar. Or the new generation of ears trained on MF DOOM's every move. Let’s thank Madlib, too, while we’re at it. The perma-stoned Oxnard producer has been tirelessly working with obscure samples for years, pushing them away from their source material so they take on strange new lives. He’s been a guiding light for a whole new wave of rappers and producers, directly and indirectly helping them shake off the arbitrary rules of a genre that thrives on breaking them. Enter Chester Watson, a Florida teenager who sits so comfortably and skillfully amongst his influences that he already feels like their peer. His latest release, Past Cloaks, from a new label called POW Records—a project of Pitchfork contributor Jeff Weiss—is an actual cassette, which means that the more you play it, the more it’ll degrade, before eventually breaking down entirely. But you’ll probably stream this somewhere—I’m streaming it right now—and the beauty is that you don’t lose much of the crust and murk when you listen to it digitally. That’s largely thanks to the production: a hodgepodge of repurposed beats, some done by Watson himself, and some done by a crew of in-house producers like Psymun, Art Vandelay, DRWN, and a bunch more. They’re all working within similar parameters: cracked psychedelia, off-kilter weirdness, and a dedication to a lifestyle with time built in for Saturday morning cartoons, cereal, and pontificating about the world through blunt smoke. Past Cloaks is, in a way, a very necessary compilation tape. True to underground rap fashion, Watson’s discography is already daunting, but by pulling together material he’s recorded over the past few years—unreleased or otherwise—he’s dialed in on the mythology that he’s been building, focusing it in an unexpectedly breezy 19-track sequence that pulls warbly samples from damaged-beyond-repair records and snatches of TV dialogue, flipping them into compositions that fit together like melted puzzle pieces. Watson is a formidable rapper, and wastes no time making sure we know that. On opening track "Phantom," his blunted voice bounces like a half-deflated basketball over keys that sound like they’re being played through an inch of dust. He’s a stream of consciousness rapper, letting vivid moments emerge and then quickly disappear. The entire tape feels like a casual studio session, with guests occasionally flitting in and out, and Watson holding court next to a stack of paperbacks, rapping about the virtues of getting stoned and seeing the world in sepia. It’s the kind of unbridled creativity that feels somehow untampered with. Watson’s still in the early stages of what will hopefully be a long career. Which means that sometimes, like on "Purple Leaves," he sounds so much like Earl Sweatshirt that it’s a little distracting. But he’ll continue to develop, and there’s so much promise and endlessly re-playable material here that even the overly referential stuff is a pleasure to listen to. Besides, Watson could do a lot worse than look to Earl for inspiration—especially when he casually drops lyrical gems like "sippin' syrup in my room and all my clothes are out." This is the kind of mundane-yet-telling detail that feels bound to cultivate a loyal fanbase. Speaking of loyal fanbases: There’s another thing you can do with tapes besides listen to them degrade. You can pass them around. Pocket them. Lend them to people. Make dubs of dubs until the original takes on a near-mystical quality. Past Cloaks isn’t perfect enough to be canonized, but it’s strong enough to form a small cult around.-Pitchfork.com
MF Grimm
Earth
Special Blends Vol. 2
Metal Face 2004
Original Joint
Even if you don't much care for J. Cole—I know some of you are out there—keep an open mind when checking his spiritual disciple Jalen Santoy. "Foreplay" is a jazzy, dignified hip-hop record in a traditionalist vein. Musically, between its live horns and walking bassline, it feels out of step with popular hip-hop generally, even other oddball records like Aminé's "Caroline," that break through while working against the grain. But sometimes it's exactly that sense of being completely out of step that lets a record knock the door down more easily.-**Complex.com
Stanley Turrentine
Sunny
The Spoiler
Blue Note 1966
Is sampled in this record.
Fidelity has dropped an EP and a joint project with fellow producer Bluestaeb in the past, but A Safe Place to Be Naked promises to be the first full-length exhibition of the fresh sound he has been exploring. Fidelity, who’s currently working with Jakarta Records, has released six tracks from the project so far, most recently the 4-20 ready “PPP,” which features vocals from Tru Thoughts singer Harleighblu. The track is a buttery electro-soul ode to the good leaf which showcases Harleighblu riding smooth basslines and luminous synths with a sultry, lounge-ready zes Imposemagazine.com
Well thanks for taking some time out of your day checking out my music blog. My son is asking me to use the computer so he can play his minecraft. I'm getting kicked off. Untill next time love and peaceful vibes going your way.
dope article sorry i could only give .80 cents my power is all the way down.. but you are all the way up with this one!!
You got some great music taste!! :) Ayeee that last pic of you and your eyes made me dizzy haha <3
damn i want to upvote the shit out of this post, if only because you spotlighted two of my favorites: Ta-Ku and Isaiah Rashad.
Ta-Ku's productions are always dope. his albums "Songs to Break Up To" and "Songs to Make Up To" are two of my favorites. and that Rashad joint is definitely one of my favorites by him as well.
absolutely following to keep up with your sunday joints! :)