Showing posts with label Classic. Show all posts
Showing posts with label Classic. Show all posts

Thursday, September 23, 2010

Classic: Crooked Booty

Dungeon Family - Crooked Booty (with Cee-Lo, Andre 3000, Sleepy Brown, & Khujo)

I can't believe I haven't posted this song yet. Ever since I obtained a copy of the Dungeon Family compilation album Even in Darkness, one of my all-time favorite joints has been "Crooked Booty". Even though the majority of the songs unfortunately aren't actually that great when compared to the incomparable Goodie and Outkast (and even Witchdoctor) albums before this tape, I've still got a soft spot for it. On this joint, Cee-Lo goes in on the hardest eight bars you've ever heard darn near a cappella while ending each rhyme on an explosive singing note. Then Andre starts in sing-rapping the chorus as the music triumphantly comes into the picture. Between Sleepy Brown's signature crooning while trying to describe what the crooked booty actually is and Khujo's aggressive dance rapping, this entire song's just classic. I don't wanna think too much about Dre's bridge three minutes into the joint, but it's hilarious, nonetheless. Just remember that when the doctor tells you that you're coming down with a bad case of the crooked booty ...

... and do the John Wall.

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Thursday, April 8, 2010

Classic: 85


This might be the smoothest joint ever. Real talk. Whether or not you prolly won't trust me.

YoungBloodZ - 85 (feat. Big Boi)

I have no idea what the sample is or who produced it ... but I don't really care. Of course Big Boi is the feature attraction, but the YoungBloodZ kill em softly on this joint from their debut album. The hook rolls absolutely perfect and is impossible to not start singing along with upon first listen. It's classic Atlanta rap back from 1999. Nothing beats that. And that's all I got to say.

... but do take my word for it.

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Thursday, December 17, 2009

Classic: Exhibit C


I just bought this two seconds ago. So I think you should too.

Literally the only reason that Jay Electronica isn't the most hailed emcee out today is because, for whatever reason, he doesn't frickin' release full projects or anything for purchase. Welp, him and Just Blaze put this single up for sale. And it's monstrous. I swiped a picture of Jay Elec transcribing the lyrics himself off of Rappers I Know. Some people don't get what the dude's about and some people would kill someone for talking sideways about his music. I mean, half his appeal though is the mystery surrounding his surreal presence on the mic. So maybe it needs to be like this for him to keep that cult presence. On the other hand, the other half of his appeal is better-than-everyone-elseness, so it's all good.

Jay Electronica - Exhibit C [iTunes Link]


... but do take my word for it.

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Sunday, November 8, 2009

Classic: Eternal Sunshine


No one has a grasp on what it is that makes Jay Electronica ... Jay Electronica. You're lying if you say you do. He's abstracted abstractness. He has masterful skill over crafting interestingness. I spend all of my time trying to understand the genius behind it all while I'm listening to his music more than actually listening to his music. It's popular amongst the heads to label him as the third incarnation of the God MC. And while I balked at it at first, I've held my tongue ever since I heard the following song. It's perfect. I don't know what makes it perfect, but it's perfect. How can this man be the next to walk the footsteps of Rakim and Nas before he's ever put together a comprehensive album or even a real single? Just listen and you'll know. He's Jay Electronica. What else do you need to know?

Jay Electronica - Eternal Sunshine (The Pledge)

... but do take my word for it.

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Tuesday, October 13, 2009

Classic: Riot


I'm a Wyclef stan. While on The Score he pretty much just made me laugh with his crazy off-kilter and free barely-rhyming. But I loved it. While Pras was off ... um ... doing whatever he was doing every third verse and Lauryn was redefining the art of intrinsic rhyming, Clef played the role of the court jester who obviously had skills, yet seemed bored with any and all semblance of convention. And once the Fugees split, he's been on an absolute tear ever since in regularly providing his fans with new product.

Wyclef Jean - Riot (feat. Serj Tankian & Sizzla)

He's got six (and soon to be seven) solo albums to go with the two and a half Fugee records. And I proudly own a physical copy of every one of them. His latest offering from '07 was The Carnival, Vol. II and he capitalized on all his amazing music connections with this one. Don't hold me to it, but I'd say Clef's got a better collaborative posse than Wayne, Akon, or any other hip hop artist out there. Besides collaboing with those two titans I just mentioned, do these names mean anything to you: T.I., Shakira, Paul Simon, Mary J. Blige, Chamillionaire, Norah Jones, will.i.am, or Raekwon? That's just this one album ...

But this "Riot" song specifically, that's what kills me. I'm an undercover System of a Down junkie and I think Serj has one of the greatest voices in all of history. And when two musical geniuses come together like this who are 100% different stylistically and still produce a classic product, it makes me very, very happy. It should make you feel like that, too.

... but do take my word for it.

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Wednesday, September 16, 2009

Classic: Whatever You Say


I'm cheating on this one. I'm using it as a "classic" and a fake "sampled" joint. But you'll forgive me.

Little Brother - Whatever You Say (Pete Rock Remix)
Maxwell - Whenever, Wherever, Whatever

The middle of this remixed Little Brother joint has one of my top three Phonte verses of all time. I'm not gonna ruin it for you if you haven't heard it, but it has one of those closing lines that can instantaneously make you an annoying mixtape DJ ... "BRING THAT ISH BACK!!!

And Pete Rock beautifully laced it with a remix beat utilizing a song off of Maxwell's debut album. [As an aside, I don't think Urban Hang Suite is even a fraction as ridiculously and amazingly perfect as BLACKsummers'night. But that's just me.] You'll like it. You'll even sit through Big Pooh because you'll like it so much. I'm just joking. But not really. I don't have much else to say about it. It's classic and is one of those hip hop moments that you just need to know.

... but do take my word for it.

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Thursday, September 3, 2009

Classic: Heaven Somewhere


While there's a few bloggers who I've stumbled upon that share the feeling with me (most notably, Pinboard), everyone else seems to absolutely hate Common's Electric Circus album. It's the one that knocked him into near hip hop obscurity as a general outsider in the years before Kanye and Be rescued him. But you know what? Screw everyone else's opinions. It'll say right here and now that EC is my favorite Common album. Yeah, suck on that one.

I may write a full length review one day on it, but for now I just wanted to post one of the most classic posse cuts that has ever been assembled. And the super crazy thing is ... it's all R&B singers ... and the song ain't even a "We Are the World" remix.

Common - Heaven Somewhere (feat. Omar, Cee-Lo, Jill Scott, Mary J. Blige, Erykah Badu, & Lonnie "Pops" Lynn)

Com did an amazingly crazy thing when he assembled his chorus-singing features for this album. He retained each one to record a powerfully personal verse on the album's closing track, singing about what "heaven" means to them. And it turned out beyond perfect. The Soulquarians collective, who helmed nearly all of the electro-soul-funk production of the rest of the album, took this song and tweaked it masterfully to highlight each singer independently and reflect their message of heaven. All this comes after a strong spoken word-styled intro by Common that sets up the opus. It's an extensive track, but trust me when I say that you need this joint in your life.

... but do take my word for it.

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Tuesday, August 25, 2009

Classic: Transformer (Live at Abbey Road)


This would definitely be right up there in my list of all-time greatest songs ever. Its presence is undeniable in how it hits my soul. Which is made even crazier by how ... kinda annoying the original was.

Gnarls Barkley - Transformers (Live at Abbey Road)

This joint was completely reworked from the ground up when Danger Mouse and Cee-Lo decided to revamp it for a short recording session at Abbey Road. On the tails of the worldwide hit "Crazy", Gnarls Barkley had become a cult phenomenon that could do no wrong. Their experimentation would always venture down the road of creative genius to their fans. Even when the St. Elsewhere cut "Transformer" came flooding in with its jumping, noisy instrumentation and rapid-fire lyrics full of modulation and vocal shifting, most of us appreciated it anyway. But once the Abbey Road rendition made its way to a YouTube channel near you, a classic was born. Danger Mouse stripped all of the busyness of the original and went full swing with the bare essentials. Cee-Lo slowed down his semi-rapping and turned each and every word of the song into a gospel-like rejoice. Everything came to a screeching halt and a social doctrine came out of the resulting hymn. You can interpret it however, but this may be the greatest remake of a song by any group to ever ... remake their own song. It's genius and any other positive adjective you ever use loosely. Trust me.



... but do take my word for it.

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Wednesday, July 29, 2009

Classic: Jolene


Screw hip hop for a minute.

For the most part, I couldn't care any less for any form of country music. I try to be open minded, but too much twang can seriously be detrimental to my mental health most of the time. Well ... here's the exception. Dolly Parton is one of my favorite artists in all of civilized history. Her prolific songwriting is something I admire and am in complete reverence of. She has more classically written hit records than most singers have songs in their entire catalogues. And to me, the peak of the peak on the peak of musical Mount Everest is her song "Jolene". Simply cannot beat it. Beautifully and succinctly perfect.


... but do take my word for it. iTunes Dolly Parton Jolene link

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Saturday, July 11, 2009

Classic: Give In to Me


So, understandably, I've been listening to a lot of Michael Jackson lately. I don't care if you're tired of the coverage or whatever, that's definitely a deserved opinion by now, but for the rest of my life I will never be tired of putting his albums back on repeat.

While I was expanding my MJ library past all the common singles that get regular play, I found a crazy pattern going on. For every song I added, I gave it a full and honest listen and what killed me was that darn near every new tune became one of my favorite Jackson songs. It happened over and over and over again. Mike killed his competitors and pushed his relevancy because he was literally able to take any and every form of song possible and mold it into his distinctive signature style. Dance, ballad, funk, radio pop, hard rock, old school R&B, edgy soul ... it didn't matter. But what ultimately became my favoritest favorite MJ joint (for now) was the Slash-assisted "Give In to Me" off his Dangerous album. To me, it's song writing at its finest. The dude could even ride any guitar riff he wanted to a perfectly constructed chorus that absolutely engraves in your brain. I love it. No one messes with Mike's pen skills.


... but do take my word for it.

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Tuesday, July 7, 2009

Classic: Aquemini


The world has gone far too long without some OutKast pumping up and down its collective block. Between that lil' fact and Charles Hamilton's crazy disappearance recently, I don't know how I've made it. Now while Big Boi's album has seemingly been complete for like two years and still isn't out, there aren't even any rumors floating around about Dre's anymore. Man. Y'all can say whatever, but I prefer over-saturation from my favorite artists, my darn self.


This song features my favorite Andre 3000 verse of any and all time. Just surpassing the 5-minute epic of "A Life in the Day of Benjamin Andre" and the dissertation on existence that is "Mighty 'O'". But as I sometimes gotta remind myself, Big kills it, too. I could write a whole other million words about it, but nothing is better to me in music than those two juxtaposing each other so perfectly in sync yet distinctively different. It's a beautiful thing. Anyways ... here's the most ridiculously densely packed 10 bars you've ever been exposed to:

My mind warps and bends, floats the wind, count to ten.
Meet the twin, Andre Ben. Welcome to the lion's den.
Original skin many men comprehend.
I extend myself, so you go out & tell a friend.
Sin all depends on what you believin in,
Faith is what you make it. That's the hardest ish since MC Ren.
Alien can blend right on in wit yo kin,
Look again, cuz I swear I spot one every now & then.
It's happenin again, wish I could tell you when.
Andre, this is Andre, y'all just gon' have to make amends.

... but do take my word for it.

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Saturday, May 2, 2009

Classic: Gunpowder


In my opinion, Wyclef Jean has a basketful of classic records under his belt. Fugees or not. This one just happens to have the beautiful Ms. Hill serenading with background vocals as well. But that just adds to its already perfect composition.

Wyclef Jean - Gunpowder (feat. Lauryn Hill)

This cut's from his solo debut The Carnival. It was hailed as an immediate classic post-Score. I don't disagree. It's decade later sequel of sorts is every bit as good to my ears as well. And a few of the several records in between, too. Ha. Well that's enough dubious honors alotted to the man for the moment.

"Gunpowder" is a back-from-war ballad, except Clef's brother didn't come back. I'm not gonna claim to be a connoisseur of reggae music, but I think Wyclef is the closest thing we'll ever have to another Bob Marley. Outside of the immediate Marley family, of course. There are quite a few of them ...

This song evokes all of the right emotions to play off of its crisp bongo accompaniment and tropical acoustic vibe. And Clef manipulates his voice magnificently as Lauryn accents certain lines in the anti-war song. I can't tell you how many times I've had this track on repeat.

... put 'em both together and you got yourself a super spork.

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Friday, May 1, 2009

Classic: Do You Like the Way


Carlos Santana is the most relevant ancient musician ever. No shots, but his one guitar setting is probably the most distinctive, recognizable sound in music today. Every time you hear that high pitched wah ... yup. That's Santana.

And it's even better when you factor in that your favorite musician has prolly collaboed with him before. Or multiple times if you're a big fan of Shakira, Lauryn Hill, or Nickelback. And in the vain of some of the greatest collaborations ever, I present you with Santana shredding like a Mexican cheese greater over my two favorite soul singers of all time. Even if one only raps her part.

Santana - Do You Like the Way (feat. Lauryn Hill & Cee-Lo)

Ms. Hill is fierce on the mic regardless of the subject or backdrop provided. And Cee-Lo at the top of his lungs is a wonder for the world to be hold. I think I might even like the live version better, though. It has all the grittiness intact that makes the song even more ridiculously soulful and perfect. And just completely by the way ... Lauryn is absolutely sexy in this video.



... put 'em both together and you got yourself a super spork.

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Tuesday, March 24, 2009

Classic: Ready or Not


While their Roberta Flack cover of “Killing Me Softly With His Song” deserving got the majority of the attention on The Score, there was another song that blew me away more towards the beginning of the album.

The Fugees are beyond legendary. I don’t think anyone really knows what’s going on with Pras at any given rhyme, but Wyclef and Lauryn are pivotal figures in cultural music. Period. Their rhythms are strictly and singularly theirs. Clef brings Haiti with him in every syllable while Ms. Hill carries all women and real people on her back. Needless to say, I got both of Lauryn’s undeniably classic solo efforts as well as all six of Wyclef’s solo albums.


"Ready or Not" is as catchy a song as you're ever going to hear. And not just because it features that same exact sample as that one Mario Winans song that you actually know all the words to. This is the vocal performance that made me fall in love with Lauryn Hill for all of eternity. And yet she still comes harder on her verse than your favorite thug rapper? Dang. I also included the Bootleg Versions remix of the track for kicks. And the aforementioned absolutely murder the remix as well. You don't even know.

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Friday, March 13, 2009

Classic: Still Alive


Dope beats and dope rhymes don't have to be mutually exclusive. I mean, a lot of times they are since the nicest of wordsmiths sometimes have dead ears for production. But sometimes, just sometimes, there exists a song that you can proudly crack the windows for and ride with (if the bass doesn't crack the windows first) while still keeping your brain cells from dieing.


I think the only thing that's limited AZ in his career is that his very first verse ever was perfection. How could any rapper ever be expected to top that? So while AZ doesn't make it on anybody's all-time list and has yet to deliver that single classic album as a whole, any given song of his could feature a verse better than nearly anything you've heard before. It's just the concept of the song after that one that leaves you shaking your head a little. But I'd love to see AZ's rhyme book for myself. He's up there in a class with Eminem in the way he can string together effortless assonance along with his rhyme schemes. The resulting sound of any given line is just sick. Simply sick.

"... if you in the car, pull over, put your hazards on and let the windows down ..."

You better do what he says. This beat could cause you to set off your own air bag.

... put 'em both together and you got yourself a super spork.

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Monday, March 9, 2009

Classic: No Alibi

So far I've enjoyed the Jimmy Fallon show pretty well. You can tell he's nervous as crap most of the time, but he'll figure out what to do to keep the awkward talk show moments to a minimum sooner or later. But indelibly, The Roots simply kill it. Like brutally.


So in honor of the legendary Roots crew, I'll post their classic "No Alibi". Off Illadelph Halflife, it just showcases Black Thought's effortless flow over any sound ever.


"So if you seen or you heard it, maybe probably I did it. Maybe or maybe not, I admit what I committed. Exhibit the truth because I'm livin proof why, I have no disguise. Ain't no alibi."

They're honestly hip hop's only legitimate band, and even if another one came out, I highly doubt they could compete. While a solo album is supposed to be in the works for Tariq, he's one of the only real emcees who ever stayed straight loyal to be part of a collective and not capitalize strictly on himself. And he definitely could have done that at anytime. Think Joe Johnson/Shawn Marion all being perfectly content in their systems instead of whining to be solo stars. Kinda.

... put 'em both together and you got yourself a super spork.

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Friday, February 27, 2009

Classic: The Craft


If you know where your radio rappers come from, then you've prolly got Oakland pinned down. If it ain't E-40 or Too $hort making up words or reusing a certain 5 letter word, then it ain't the Bay Area.

... sorry, I just slapped myself. If the SoleSides collective isn't in your music library, then you're definitely missing out on a highly distinctive and brilliant encapsulation of what Oakland music can be on the other side of the radio. [Shouts to Hiero, too. I'm not forgetting them.]


While I have to admit that Lyrics Born may be in my top 10 of all-time if you remind me, Gift of Gab is one of the most poetically inclined emcees ever and represents the other-side-of-the-tracks kind of music that SoleSides can offer. With DJ Xcel weaving enthralling journeys of sound through decades of genres, Gab is trailing with such lyrical verbosity that you can't help but be dazed at times. Every type of poetic device you learned in high school, Gab has mastered it and intriguingly reminds on a bar-by-bar basis that you can actually say something all while impressing hip hop heads and having fun at the same time.

I made a quick skimming of these internets we got going and found that the album from which "The Craft" came from, um ... The Craft, got reviewed rather poorly by a lot of sites. This irks me to no end. Allow me to scootch over this soap box real quick. I absolutely hate about 98% of all music reviewers, regardless of genre. The majority of them are mired in that egregiously bitter TA (teaching assistant) kind of mind state. They're usually not in the position they wanna be, so instead of focusing on what good they can do in the position they're doled out, they are firmly entrenched in negativity just looking at any hint of imperfection as their way to exert dominance over their underling subject being "reviewed". Or maybe that's just my Physics Lab TA Gururaj who is the devil incarnate. Hmm ... naw, it's music reviewers, too.

Instead of appreciating music, they dissect it beyond the souls that created it. They complain of subject matter, lyrics, sounds, and structure all while discrediting attempts to push those boundaries in a positive manner. Ignorance is called out as such yet intelligence is labeled as "trying too hard" or "out of touch". Conformity is called out as such yet originality in breaking genre molds is labeled "too alternative" or "a failed musical experiment".

Informing me that all attempts at genuine, talented, good-intentioned music making will never live up to the standard of your favorite Atmosphere or Ghostface album is not productive in any way, shape, or form to anyone's life. That's one of the reasons no one buys albums anymore, cuz depending on which website you pulled up, "Welcome to Heartbreak" was either "one of the few genuine mirror-inspecting songs by a rockstar ever" or "a corny try at seeming to regret fame and connect with the audience". If somebody hates somebody else's favorite song off an album, others tend to lean towards the hate and label the positive reviewer a Stan. So then the blanket statement of any given album being "trash" is started.

Person A: "Hey, I was thinkin' bout pickin' up that new Kanye. For real, I don't mind that 'Love Lockdown' that much."
Person B: "Naw, that album's trash. Kanye can't sing. I won't even listen to it cuz I read he's straight emo the whole thing."
Person A: "Dang, I don't wanna hear no slit-my-wrist music. Forget that."

So what could possibly be your favorite album of the year if you went into it with an open mind has now been labeled and crossed off your mental check list. You ignorantly skipped out on an opus because you heard that somebody read something about it sucked. I'm all for criticism and honest opinion, but I am definitely NOT for getting back a 56% lab report just because my TA hates his life and thinks everyone else should be just as miserable as him. What am I talking about again?

"This craft, this beat, this rhyme, this vibe, this style.
They say music gives new life from a source inside that is forever flowin.
This stage, this mic, this crowd, this show, this life.
I've been given a gift tonight and for that, I vow to be a vessel."

So when I read that Blackalicious suffers from seeming "like a prick" for "taking a stagnating art like it's an important meeting with higher ups more than an indelible passion", I get thoroughly pissed. What Gab did was choose a subject matter and write the hell out of it, way more articulately than any CokeMachineGlow mentally incapacitated reviewer could exude his suppressed indelibility towards garbage in any given album review. Whatever. That's an impossible battle to take on. Cuz then I'd get called out by Pitchfork on some other type ish defending their write to say all music besides Wolf Parade or Of Montreal suck. And now's the time when I formally send out my apology to The Lonely Island. Sorry, guys!

... put 'em both together and you got yourself a super spork.

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Wednesday, February 25, 2009

Classic: Biochemical Equation


To appreciate the legendary RZA as a rapper, you have to come to grips with his off-beat rhyming. And not off beat like in ... different. Off beat like in ... he fricking doesn't rap on beat. But there's an art to it, I swear!


I am pro-[Doom+Wu] in all situations. While Metal Face could never be legitimately compared to any rapper in history, he's mentally somewhere is a realm that possibly you could see the Wu-Tang's galaxy from if you looked really hard for it through a ridonkulous zoom telescope. Probably. Maybe. Whether he's producing for the whole Clan or allegedly prepping a duo album with Ghostface, it's definitely material to look for.

Who knows how the Wu-Tang Meets the Indie Culture album came about, but I'm glad it did. This beat is so far beyond amazing that I want it to be my life's theme music. Like from this very millisecond onward.

"I'm/ not/ givin/ mine/ a/way to Satan,
Al/though/ I/ know/ that/ he's awaitin."

... put 'em both together and you got yourself a super spork.

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Tuesday, January 27, 2009

Classic: Thugz Mansion


This is a nice lil' two-fer. Same official Pac verse, but one hundred percent different tracks. One was released on the posthumous Better Dayz with Anthony Hamilton while the other transfered a verse to the acoustic Nas rendition on God's Son. I'm a sucker for anything with finger-picking or Mr. Hamilton, so I enjoy both rather thoroughly. Somehow 2Pac remains both over and underrated in his legacy since his death, but it's impossible for somebody to not have a few Pac songs they sweat.


Supposedly the short Pac-Nas feud was deaded right before Pac's unfortunate passing, so I'm sure the 2002 version was deeply genuine, especially considering it came shortly after the passing of Nas' mother.

... this was whatcha all been waitin' for ain't it?

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Friday, January 23, 2009

Classic: Teenage Love


Slick Rick is my dude. The picture with this post was taken by me in the third row of the Legends concert with Tyler & Daaaaaave last year. Of course I was blown away seeing Big Daddy Kane, Dana Dane, and Whodini, but Ricky & Doug E. Fresh frickin' killed something else.


So you should prolly know at least half of "Children's Story" off the top of your head and recognize "La Di Da Di" on the first beat, but my favorite Slick Rick song is "Teenage Love". I'd actually heard the sampled chorus off of Talib Kweli's ridiculously amazing bonus track "For Women" before I heard the original. So I had that immediate connection to the song already.


This one just hits a lot different than Ricky's usual song matter on women. This one sets aside his usual stone-emotion pimp persona and assumes a fragile, understanding dude. Even if it just lasted this one song, I believe it. No matter the other stories he tells. The song got a more recent ode with Alicia Keys' "Teenage Love Affair", even more so with the LL & Swizzy remix that directly sampled it. Slick Rick is my dude.

"Don't, don't, don't hurt me again ..."

... this was whatcha all been waitin' for ain't it?

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