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hip hop '10
- Thread starter petergunn
- Start date
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Corpsey
bandz ahoy
I don't really get the massive appeal of Rawwwwwwwwwwwwwwse, he strikes me as being a bit like somebody's embarrassing dad trying to be a gangster rapper. This write up about 'Hard in da Paint' explains the appeal of both Ross and Wacka (though I don't need the latter explaining to me natch)...
''If there’s a song that truly exemplifies the fact that Jeezy lost, it's "Hard in the Paint". Once infamous for his adlib heavy, flow-over-lyrics, heart-over-smarts approach to rap, his aesthetic has been taken to it's logical extreme in different ways by two of his contemporaries. Both of whom are featured on this song.
On one end of the spectrum you have Waka Flocka, who has essentially elevated the sonic aspects of that Jeezy-brand of rap to a level the prototype never achieved. Waka's emphasis on adlibs and aggressive delivery is so intense, that to acknowledge his bars would actually DISTRACT from the message of his rap. That’s because the message of Waka's rap isn’t one that involves anything remotely resembling a statement, let alone a narrative. Instead, the mission statement is emotion driven aggression, pure and simple. Directionless and aimless, Flocka removes Jeezy's workmanlike focus on drug dealing. Thereby providing the freedom to utilize his delivery to elicit a much more aggressive and emotional reaction from the listener.
On the opposite end of the spectrum is Rick Ross, who is not a gangster rapper in the traditional sense. While lyrically talented, Rozay’s words rarely delve below the surface, eschewing more personal and negative aspects of drug dealing to focus completely on the glamorous image of a kingpin. He’s a guy who knows the gangster aesthetic in and out, even if he appears to be oblivious to the gangster lifestyle. While Waka’s raps are much better when less emphasis is placed on lyrics, the key to appreciating RAWSE is to let the vivid images and themes that his punchlines convey play out, never focusing on the lack of depth of character behind them. Songs such as MC Hammer, BMF, and of course "Hard in the Paint" are effortless for RAWSE. They provide a blank canvas that encourage the Teflon Don to paint grandiose images of excess, without the constraints of an actual song concept.
William doesn’t attempt to compete with Flocka in regards to delivery - something Waka’s label mate Gucci Mane should have considered on his version of the song - and relies on his naturally authoritative voice to carry his infectious lines and excessive imagery. In short, where Flocka removed any semblance of lyricism from the style of rap Jeezy pioneered, Rick Ross has managed to improve the lyrics of said style and even make it a strong point.
"Hard in the Paint" is the pinnacle of lowest common denominator rap.''
From THIS BLOG, which has done a top 50 rap tunes of 2010 ting which is full of good tunes and good writing.
This is also good, a bunch of people I've never heard of (and Mark Ronson) picking their favourite rap productions of 2010.
listening to a lot of curren$y at the moment:
dipset fans should check this (via realniggatumblr)
Also via realniggatumblr
''If there’s a song that truly exemplifies the fact that Jeezy lost, it's "Hard in the Paint". Once infamous for his adlib heavy, flow-over-lyrics, heart-over-smarts approach to rap, his aesthetic has been taken to it's logical extreme in different ways by two of his contemporaries. Both of whom are featured on this song.
On one end of the spectrum you have Waka Flocka, who has essentially elevated the sonic aspects of that Jeezy-brand of rap to a level the prototype never achieved. Waka's emphasis on adlibs and aggressive delivery is so intense, that to acknowledge his bars would actually DISTRACT from the message of his rap. That’s because the message of Waka's rap isn’t one that involves anything remotely resembling a statement, let alone a narrative. Instead, the mission statement is emotion driven aggression, pure and simple. Directionless and aimless, Flocka removes Jeezy's workmanlike focus on drug dealing. Thereby providing the freedom to utilize his delivery to elicit a much more aggressive and emotional reaction from the listener.
On the opposite end of the spectrum is Rick Ross, who is not a gangster rapper in the traditional sense. While lyrically talented, Rozay’s words rarely delve below the surface, eschewing more personal and negative aspects of drug dealing to focus completely on the glamorous image of a kingpin. He’s a guy who knows the gangster aesthetic in and out, even if he appears to be oblivious to the gangster lifestyle. While Waka’s raps are much better when less emphasis is placed on lyrics, the key to appreciating RAWSE is to let the vivid images and themes that his punchlines convey play out, never focusing on the lack of depth of character behind them. Songs such as MC Hammer, BMF, and of course "Hard in the Paint" are effortless for RAWSE. They provide a blank canvas that encourage the Teflon Don to paint grandiose images of excess, without the constraints of an actual song concept.
William doesn’t attempt to compete with Flocka in regards to delivery - something Waka’s label mate Gucci Mane should have considered on his version of the song - and relies on his naturally authoritative voice to carry his infectious lines and excessive imagery. In short, where Flocka removed any semblance of lyricism from the style of rap Jeezy pioneered, Rick Ross has managed to improve the lyrics of said style and even make it a strong point.
"Hard in the Paint" is the pinnacle of lowest common denominator rap.''
From THIS BLOG, which has done a top 50 rap tunes of 2010 ting which is full of good tunes and good writing.
This is also good, a bunch of people I've never heard of (and Mark Ronson) picking their favourite rap productions of 2010.
listening to a lot of curren$y at the moment:
dipset fans should check this (via realniggatumblr)
Also via realniggatumblr
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Corpsey
bandz ahoy
Also, coming from somebody who has played Pro Evo 2010 far too many times, I really want to hear a Dipset version of '1000 trees' by the Stereophonics where 'trees' are replaced by 'grams'.
''Only takes one goon, to sellllllll a thousannnnnnnnnnnnnnnnd grams!''
It would go so so so hard in Jamie Oliver's whip on the way to Sainsburys.
''Only takes one goon, to sellllllll a thousannnnnnnnnnnnnnnnd grams!''
It would go so so so hard in Jamie Oliver's whip on the way to Sainsburys.
me too - love that michael knight one! they got the lighting in that video spot on too
you need to get on fifa corpsey, pro evo is over now innit!
Corpsey
bandz ahoy
Yeah that's one of my favourites by him. That sun-drenched soul sound fits Wiz and Curren$y's 'jet setter' schtick to a tee, non? Curren$y apparently might have signed for Warner for a big cheque. I couldn't believe it when I saw 'Black and Yellow' has 23 million views on Youtube (think its tied in with a football team somehow - Pittsburgh?). You're right about Fiend, btw, he kills it. Love the horns.
not 2010, but fucking TIMELESS. Actually this is basically just the 'hip hop (any recent year)' thread now I suppose.
not 2010, but fucking TIMELESS. Actually this is basically just the 'hip hop (any recent year)' thread now I suppose.
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CrowleyHead
Well-known member
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Lex Luger talking. Ay.
Lex Luger talking. Ay.
baboon2004
Darned cockwombles.
geat call Luka - my favourite track of the week.
Benny Bunter
Well-known member
What do people think of Ghostface's Apollo kids album? His best since Fishscale I reckon
outraygeous
Well-known member
This is true, he is overly obessed with grime and dizzee. His fave tune is wonders - what.
Had a 'convo' on twitter about it.
also a massive fan of these new puritans (i think)
outraygeous
Well-known member
This guy name checks Kano in one of his tracks of this mixtape
Corpsey
bandz ahoy
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CrowleyHead
Well-known member
That was the third album though.
There was a big push for Grime in the USA by the music media press in the '04-'05 era when there was the fissure between mainstream rap journalists being fairly dominated by more of the 'rap moguls' than hyping new artists, and the 'new music' media found grime a lot more interesting/artistic/pleasing than say, crunk. I'd say it started with SPIN trying to sell The Streets to America and a bunch of people in the USA mislabeling MIA as grime and ended around Jay-Z putting out Lady Sovereign. I know, I'm one of the Americans they happily suckered, thanks to Simon Reynolds doing a big article in Spin on grime. Thank god Reynolds name dropped Wiley or I'd thought Dizzee was just a rapper.
Dizzee had a minor following already in the US due to critics talking about Boy In Da Corner and MTV2 offering occasional play of "Fix Up" (which is probably his most overt 'hip-hop' record on Boy).
Def Jux has really VERY little to do with Dizzee, aside from having him tour with Kidz N The Hall when they'd just gotten a Billboard charting single and managed to hit a commercial peak, and El-P who is of course, El-P.
There was a big push for Grime in the USA by the music media press in the '04-'05 era when there was the fissure between mainstream rap journalists being fairly dominated by more of the 'rap moguls' than hyping new artists, and the 'new music' media found grime a lot more interesting/artistic/pleasing than say, crunk. I'd say it started with SPIN trying to sell The Streets to America and a bunch of people in the USA mislabeling MIA as grime and ended around Jay-Z putting out Lady Sovereign. I know, I'm one of the Americans they happily suckered, thanks to Simon Reynolds doing a big article in Spin on grime. Thank god Reynolds name dropped Wiley or I'd thought Dizzee was just a rapper.
Dizzee had a minor following already in the US due to critics talking about Boy In Da Corner and MTV2 offering occasional play of "Fix Up" (which is probably his most overt 'hip-hop' record on Boy).
Def Jux has really VERY little to do with Dizzee, aside from having him tour with Kidz N The Hall when they'd just gotten a Billboard charting single and managed to hit a commercial peak, and El-P who is of course, El-P.