Stevie Wonder - Don’t You Worry Bout A Thing (1973)
More Stevie. Don’t like it eat a dick, with no salt or sauce.
A$AP Nast & Method Man - Trillmatic (2013)
Normally I’m not that into boom bap nostalgia but OTOH it is what New Yoik does best and OTOH pt 2 Method man’s verse here is hot flaming fiyah heat. You know one of the important things about this beat is its quite upbeat which means Meth has to snap out of his weed/maturity induced coma and start spitting spittable stuff instead. Somebody please hook Prodigy up to a fast-ish beat and see if he starts giddying up a bit.
Stevie Wonder - You’ve Got It Bad Girl (1972)
Godlike songwriting genius from the one like Stevie. I’ve been listening to ‘Innervisions’ and ‘Talking Book’ for the first time ever this week - old news for most but suddenly you can see where so much of Frank Ocean/The Neptunes’ and countless others inspiration came from.
Kanye West - I Am A God (2013)
Hurry up with his damn Croissants.
—Vulnerable ft. Travis Scott
Tinashe - Vulnerable ft. Travis Scott (2013)
Kings of Tomorrow - Fall For You (Sandy Rivera’s Classic Mix) (2013)
This is one of those tunes that make you want to own a sail-boat, and be able to tan easily, and to be surrounded by dreamy-eyed beautiful women, and and to be shot in HD, slo-mo as the sun wistfull sets. Ahhh remember optimism, you pissed-upon, wind-blasted sputum?
Future - Sh!t (2013)
I wasn’t really feeling this all that much before cos it isn’t your classic autogoon Future tune (that’s what ”Honest” is) - but ”Sh!t” isn’t yer typical ‘trap’ tune either. It sort of fits in with that Migos tune I posted earlier today, and P Rico’s ‘Hang With Me’ and stuff like that in that Future’s taking yell-rapping to new, elastically flexed places here. What with this yell-rapping, the aforementioned auto-tuned stuff (its weirdest practitioner possibly Young Thug) and Chief Keef’s latest, essentially incomprehensibly weird mumble-raps, it seems like rappers in certain circles are becoming more and more INSTRUMENTS on tracks. The lyrics are simple, mantra-like, repeated like melodic motifs and rhythmic loops, and the rappers voice itself is either raw material for treatment via soft studio plug-ins or manipulated and warped by the rapper themselves.
The continuing growth of auto-tune rap is of course a trend, a case of bandwagon jumpers following Future’s lead (also Kanye/Wayne/Drake et al) - but it is a telling trend, too: it means that, what with a lot of rap beats now being made on synthesisers, a lot of street rap (which prizes ‘realness’ above all else, to this day) now sounds UNREAL. The video might be a shirtless rapper gesticulating on a street corner, backed up by a dozen homies, and the music will sound like its come from fucking MARS (via Atlanta or Chicago). In any case, the sheer amount of weird, fucked-up experimentation going on in the mixtape-orientated rap world at the moment is at the least exciting - those who follow the scene closely, or are only exposed to mainstream rap hits, undoubtedly may feel that there is huge over saturation of certain styles. But really hip-hop is moving forward always, powered by competition, invention and eccentricity turning into profitability.
Carnao Beats - Know My Name (Low Stepper RMX) (2013)
This is, 4x4 garage drums meets tech-DNB asperity: the swing is all in the hi hats, while the bass-line stabs stabs stabs.