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Official Rap and Hip Hop Topic

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feckyerlife
  • feckyerlife

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#12511

Posted 14 April 2017 - 01:51 PM

im not usually fan of this trap style but this is alright

 

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TwisT3R-HU
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#12512

Posted 14 April 2017 - 03:56 PM

I also like that one :D


Rafae
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#12513

Posted 14 April 2017 - 05:57 PM

I was listening to Untitled Unmastered in preparation for this album to release last night but then I came across the fact that it had leaked in it's entirety at around 6pm last night lol. Immediately found a download link, albeit the download took FOREVER but meanwhile I was reading comments about the album on KTT forums and everyone was hyping it up and saying it was out of this world, one track in particular really caught everyone's attention (XXX) so I was excited as hell to listen to this thing start to finish.

Fast forward about forty minutes later and I'm listening to it, for some reason it's not thatin my face as I expected it to be but some tracks really stuck out.. DNA, Loyalty (my favorite atm), XXX and the outro Duckworth. Listened to the entire thing EXTENSIVELY last night multiple times and it's really growing on me.

That's one thing I feel like Kendrick has been doing on purpose with his last three projects (To Pimp A Butterfly, Untitled Unmastered and DAMN), he makes them harder to digest and quite multi-layered so everything doesn't click upon first listen and you have to go back and revisit the album multiple times in order to form a proper opinion of it. He even talked about this in interviews.

Section.80 and good kid, m.A.A.d city were quite easy to listen to and digestable upon first listen and very enjoyable from start to finish. Both have insane amounts of replay value too. I feel like Kendrick went totally left field when he released TPAB but not in a bad way.
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Kippers
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#12514

Posted 14 April 2017 - 07:20 PM

It always surprises me how well Kendrick does. He doesn't make particularly catchy music a lot of the time, but it still catches everyone's attention. 

 

I'm only up to 'Loyalty' ft Rihanna, but so far I'm warming to it quicker on my first listen than I did was TPAB. 

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Rafae
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#12515

Posted 14 April 2017 - 07:39 PM

It always surprises me how well Kendrick does. He doesn't make particularly catchy music a lot of the time, but it still catches everyone's attention. 
 
I'm only up to 'Loyalty' ft Rihanna, but so far I'm warming to it quicker on my first listen than I did was TPAB. 


His words just really resonate with everyone in a relatable way. He says things we're all thinking but scared to say... only in a way better than other rappers do it. It hits you a certain way, that's where I feel his music excels.. The way it hits you and makes you feel.

I feel like this album is more easily digestible than TPAB but at the same time it's extremely lyrical and does have some slow moments.

Rafae
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#12516

Posted 15 April 2017 - 02:52 AM

98 on Metacritic so far :D http://www.metacriti.../kendrick-lamar

 

Even topped TPAB's score (so far) and that received so much rave upon release. Kendrick truly gets better with every release. Sheesh.

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Kippers
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#12517

Posted 15 April 2017 - 07:33 PM Edited by Kippers, 16 April 2017 - 02:40 AM.

 

I feel like this album is more easily digestible than TPAB but at the same time it's extremely lyrical and does have some slow moments.

 

 

That's the right word, 'digestible'. 

 

I'm disappointed by the U2 feature. I was talking to someone who listened to the song just for the fact U2 were on it and he said it was terrible because they're barely there. He's not a hip hop fan in the slightest, but a huge fan of Bono and the gang. I do agree with him. Apart from the short chorus, Kendrick could have used anyone. I guess the song's subjectt matter matches what U2 talk about in their stuff, but otherwise I think it should have been sombody else if he wasn't going to give them more of a presence. 

 

The album as a whole feels like it changes direction around 'LOVE' ft Zacari (The most unKendrick like song I feel he's ever done, actually). It feels intentional for single purposes, maybe. Only had the one listen, but there's something different from that point on that I'll be able to better explain after a another session or 2.  

 

Great album. Feels like Kendrick Lamar whilst also producing a different vibe from his other albums. 4 projects in and he hasn't stepped wrong yet.  

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Switch
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#12518

Posted 16 April 2017 - 01:13 AM Edited by Switch, 16 April 2017 - 01:16 AM.

Been bumping some UGK lately, still so f*cking good. 

 

Rest in peace Pimp C.

 

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AAR
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#12519

Posted 16 April 2017 - 12:17 PM

Wuf Ticket was a rap group that consisted of Mustafa Ahmed, James Mason, Earl McField and Karin Wolf.

In 1982, they released their debut single “Ya Mama” on Prelude Records. The song managed to peak at #21 on Billboard’s Black Singles chart, staying on the chart for 14 weeks.

 



Their follow-up single “The Key” was released the year after. A completely different style compared to their first one. It was an energetic an motivational dance track loaded with more synthesizer and drum machine. The female's backing vocal is present while the male vocalist sings his lines. High and low male vocals and vocoder at the end are also present. It unfortunately didn’t make much impact on the charts but it's still a favorite among post disco and 80's funk enthusiasts.

 

Spoiler

 

After that, it seems as if Wuf Ticket faded into obscurity. Ahmed and Mason occasionally kept busy with music.

 

Mason produced that same year 'The Fat Boys' first rap single "Reality" that was released around September/October under their first band name The Disco 3.

 

 

Ahmed as a percussionist performed as a session musician and played congas for Mason's first and only solo LP "Rhythm Of Life" in 1977. Mason is a multi-instrumentalist that plays guitar, Piano, Electric Piano [Fender Rhodes], Synthesizer, and Guitar Synthesizer. His musical inspiration were The Crusaders, Miles Davis, Wayne Shorter, Joseph Zawinul, Stevie Wonder, The Pointer Sisters and Stanley Clarke. He was also fortunate to be a band member of the American funk, soul and jazz composer and vibraphone player Roy Ayers.

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xXepicjasaXx
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#12520

Posted 17 April 2017 - 01:08 PM

24/7 livestream of amazing music


Switch
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#12521

Posted 17 April 2017 - 10:54 PM

 

I miss the old Kanye, straight from the Go Kanye 

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Dnero
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#12522

Posted 18 April 2017 - 07:10 PM

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Rafae
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#12523

Posted 18 April 2017 - 09:30 PM

https://www.youtube....h?v=NLZRYQMLDW4


Incredible video.

Plage
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#12524

Posted 19 April 2017 - 11:13 AM

f*ck Kendrick!

 


Plage
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#12525

Posted 19 April 2017 - 11:58 AM


Plage
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#12526

Posted 19 April 2017 - 08:07 PM

 

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Plage
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#12527

Posted 20 April 2017 - 07:29 AM


Grae
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#12528

Posted 20 April 2017 - 07:44 PM


 

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Plage
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#12529

Posted 21 April 2017 - 06:29 AM


DOOM!
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#12530

Posted 21 April 2017 - 06:55 AM

Lil' B? Vince Staples? I'm good. That DNA video goes very well with the audio. This is the type of sh*t Jay-Z was trying to do with illumanti type sh*t, but that's weird. Kendrick is doing something very interesting and intriguing from his rap perspective. Which is something mainstream rap lacks and needs. Never was a fan of Kendrick but this sh*t is growing on me.
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Plage
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#12531

Posted 23 April 2017 - 07:19 PM

 

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Plage
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#12532

Posted 23 April 2017 - 09:40 PM

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Switch
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#12533

Posted 24 April 2017 - 07:21 PM

 

 

God, i f*cking love that Clams Casino beat on All nite!


feckyerlife
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#12534

Posted 28 April 2017 - 07:43 PM

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Donatello
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#12535

Posted 28 April 2017 - 10:32 PM Edited by Donatello, 28 April 2017 - 10:36 PM.


"A real gangsta ass nigga never runs his f*ckin' mouth cuz real gangsta ass niggas don't start fights."
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Sunrise Driver
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#12536

Posted 29 April 2017 - 05:47 PM

From the upcoming album - Real Hip Hop beat and no trap s**t.

 

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Kippers
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#12537

Posted 29 April 2017 - 10:44 PM Edited by Kippers, 29 April 2017 - 11:09 PM.



From the upcoming album - Real Hip Hop beat and no trap s**t.

 

Holy sh*t. I'm surprised Snoop is coming out with another album so quickly!   'Koolaid' was a step in the right direction for Snoop after a few disappointing albums. I enjoyed maybe half of it, which is better than the nothing I enjoyed on the few before.  I'll always be looking forward to what he puts out. 

 

That song is a great start to the album! Loving the album cover for this project as well. 

 

Edit: Here's something Snoop said about the album just taken off Rap Genius. 

 

 

“What I wanted to do on this record – and it was a spontaneous move – was to make a record to engulf every phase of Snoop Dogg that you’ve heard over the last 25 years.”

 

“From hearing me on “Deep Cover” to hearing me on The Chronic, to my first album to hearing me with Pharrell to No Limit to the reggae album to a funk album – all the different evolutions of Snoop Dogg. but taking a snippet of each one and enhancing this new record with that same spirit, still keeping it new and fresh.”

 

Going to be very interesting but potentially another mixed bag like Koolaid. Hope not though. Either way sounds like we can expect a few more G-Funk era Snoop songs.

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Rafae
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#12538

Posted 29 April 2017 - 11:34 PM

Wow.. heard this on a weekly HNHH playlist yesterday and thought it was a throwback cause of 4/20 and all and how it sounded unlike anything today hip-hop wise

Glad to know that's it's actually current and off Snoop's upcoming album
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Cosmic Gypsy
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#12539

Posted 01 May 2017 - 01:50 PM

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AAR
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#12540

Posted 03 May 2017 - 02:11 PM

 

Grandmixer D.ST., or Derek Howells, was known for his precise deejay abilities as well as his showmanship at parties. Sometimes he would break out into a dance, or use body parts other than his hands to cut the records. All this brought him to the attention of Afrika Bambaataa who asked him to join him for parties. D.ST’s original group was The Infinity Four MC’s consisting of Kingpin Shahiem, Mike Nice, Baron and Legendary female rapper Kimba.

While working with the Infinity Rappers in 1982, he was part of the first hip hop tour to Europe with Afrika Bambaataa, Rammellzee, Fab 5 Freddy, Rock Steady Crew, the Double Dutch Girls, and graffiti artists Phase 2, Futura, and Dondi. He also appeared in the movie Wild Style with Rammellzee and Shock Dell at the Amphitheatre.

Another big project was his work with Herbie Hancock on the seminal jazz/hip hop junction “Rockit” in 1983.  His hands were controlling the scratching for the song. Other records include “Crazy Cuts”, “DST Cuts It Up”, “Megamix 1 & 2”, “Home Of Hip Hop”, “Mean Machine”, and “Rock The House In Japan.”

Although never recording an album of his own, he continues to produce for current hip hop groups most notable King T. Incidentally, the name D.ST derives from an abbreviation of Delancey Street, located in Manhattan. He later changed his name to Grandmixer DXT. He is prominently featured in the film “Scratch”.

 

"Mean Machine" features Jalaluddin Mansur Nuriddinone on the vocals. He's one of the founding members of The Last Poets, a group of poets and musicians out of the Harlem Writers Workshop in New York City that evolved in the 1960s and arose from the late 1960s African American civil rights movement's black nationalist thread. Their name is taken from a poem by the South African revolutionary poet Keorapetse Kgositsile, who believed he was in the last era of poetry before guns would take over.

 

The Last Poets have been cited as one of the earliest influences on what would become hip-hop music; critic Jason Ankeny wrote, "With their politically charged raps, taut rhythms, and dedication to raising African-American consciousness, the Last Poets almost single-handedly laid the groundwork for the emergence of hip-hop." The British music magazine NME stated, "Serious spokesmen like Gil Scott-Heron, Gary Byrd, and the Last Poets paved the way for the many socially committed Black a decade later." The Last Poets can be seen in the movie Poetic Justice starring Tupac Shakur and Janet Jackson.

The still apropos apocalyptic lyrics by Nuriddin who has been a Last Poet with a survivor instinct for rejuvenation. After his beat-box/synthesizer "Long Enough" on Kee Wee Records in 1984, he did this hip hop remake of Last Poets "Mean Machine", off their second album This Is Madness with D.ST., making it a benchmark in hip hop history as two generations of rappers came together.

Nuriddin remains funky-engagé until the present day.

 

Click on the spoiler if you're interested to know a bit more.

 

Spoiler
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