Lil Wayne - Tha Carter II
I slept on Wayne for too long. I suppose he was hitting his stride when I was barely a high schooler, but I have no excuse for not checking out his backlog sooner. Tha Carter II is a solid contender for his best work and represents a huge jump in quality from his previous work. That's not to say Tha Carter I is bad, far from it, but Weezy completely and utterly destroys the competition on this one. Behind the laid back lazy vibes there's a lot of highly technical shit happening in the verses here. Weezy can maintain a rhyme scheme well past when a normal person would have run dry and the multisyllabic patter is layered into the rhymes until he's practically juggling rhyme and rhythmic ideas. The ability to glide from laid back to intense staccato flow and from lazy to frenetic pace is an amazing achievement. When Lil Wayne declared himself the best rapper alive he was not kidding. He sincerely was one of the best rappers alive.
Mobb Deep - The Infamous
For people that are not already big hip hop heads this album is a bit of a hidden gem. It came out among a scene that was reinventing hardcore hip hop on the east coast, but didn't quite achieve the long term success of Enter the Wu Tang or Illmatic. Possibly the starkness is slightly to blame. There is no time for goofy skits and even the bravado isn't in the name of fun, this shit is serious. There's less individualist bravado here and more 'none of are gonna make it unless we all work together' vibes. East coast hip hop has a few notable hallmarks and my favorite is the oh so predictable inclusion of what I like to call "haunted piano". This tends to lend a more serious, stark sound to east coast hip hop as opposed to the funkier west coast. In the case of The Infamous these stark beats and dead serious subject matter make for an intense experience. Plus the features by Nas, Q-Tip (who also produces), and half the Wu-Tang crew make this album a who's who of east coast rappers.
George Harrison - All Things Must Pass
When the Beatles broke up John and Paul started their solo careers and Ringo went back into the Ringo box or whatever. George Harrison however had an ace up his sleeve. While John and Paul had been stealing the limelight he had just been writing a billion fucking songs and so his solo debut is a triple album. Surprisingly there is very little of the psychedelic raga influenced ramblings that you'd expect, instead Harrison seems to have gotten interested in country and blues. And it really works! There is of course a fair bit of psychedelia, My Sweet Lord was the big hit after all and the title track is pretty psych too. But imo the album's strongest moments are after a reprise of Isn't It A Pity where he just spends the rest of the album doing extended bluesy hard rock guitar jams.
Drake - If You're Reading This It's Too Late
Listen I'm such a fucking hater for Drake. So it pains me to say that this album isn't a complete dumpster fire. It is still impossible for me to take Drake seriously as a rapper but hey at least he's trying to actually rap right? I think this might actually be enjoyable if it was pared down a bit and if the beats were punched up a bit and if someone other than Drake rapped over them.
Aerosmith - Rocks
I'm gonna start being known as that girl who will go to bat for mediocre dad rock bands aren't I? I like Aerosmith, they genuinely nail the stupid guitar god machismo of the 70s. The guitars can scream, the drums go wild, and Steven Tyler's camp ass voice feels completely unrestrained. All they have to do is keep up that energy and they do. When Last Child started playing I legitimately air guitared to that sick ass riff.
Madvillain - Madvillainy
MF Doom and Madlib were a match made in hip hop heaven. Madlib could flip a sample better than anyone in the industry at the time and the esoteric nostalgic beats were the perfect accompaniment for Doom's supervillain persona. Doom's rapping is at its peak here, pretty much take every good thing I said about Wayne's technique and turn it up to eleven. Faster, effortless, deliberately sloppy, mumbly yet perfectly enunciated. Rhymes in rhymes in rhymes are stuffed rapid fire in a minute and a half what would take other rappers four. Doom's GOAT status is unassailable. The thing is that Madlibs beats are so incredible that if you just removed Doom from this record it would still be an amazing listen. These two are just so incredibly individually talented musicians that also happen to be the perfect fit for each other.
4 notes
·
View notes
yea we are never making progress ever the more people I talk to about unions and striking the more I keep hearing the same excuse of "they're selfish, they should just find another job if it's not paying them well/the conditions are bad" because last night my cousin called the people that work for national rail and other train services doing a walk off/striking are selfish for doing so and when I tried to explain to her that no act of striking the workplace is selfish when this is done to change the workplace for EVERYBODY not just those striking she started saying I'm doing too much over a "fake scenario" because she said would never strike when I wasn't even addressing that I felt like I was in a twitter arguement but in real life because at this point it's willful ignorance if you try to flip over the tables and say what I'm fighting for isn't even real when you just said people that strike are selfish....
22 notes
·
View notes
also on the "He would not fucking say that" post i do agree it is quite the somber feeling to know that if they could have said one thing everything would be different, if they could do one thing then it could all change just like that but choices need to be made and all we can do is live in the consequences of those past actions and make the best of what we can now Nothing can change the past so you gotta make the best of the future
and well i think they knew that
Yah. You got a point
I was mostly just feeling out loud about Plot Points
2 notes
·
View notes