In the dark park sat a lark upon the bark.
Its shadow marked stark against the luminous pockmarked bulwark.
"Hark" remarked the aardvark matriarch set to embark.
"Join me Plutarch, in my arc to the celestial monarch."
Haha so you're homeless. bummerYes, we were homeless. But not to fear, for our new roommate was the fortuitous renter of a townhouse in the same complex we lived in and happened to have a roommate recently vacate.
This is a perfect dance number, dougie or not. The west coast knows how to draw the females and make the dudes jealous, that much is certain :P. The song and concept are pretty simple, but it really makes me want to dougie...
The actual dance is an enigma to me, not really surprisingly I suppose. C-Smoove and Yung make it look so easy and effortless. I wouldn't dream of messin' with Bubba's dougie.
Lupe put this out as part of a mixtape with a ton of collaborations. For some reason this track feels a little overproduced, but it ends up working on the whole. The lyrics are pretty deep and draw on a lot of Biblical imagery. I interpret it as a foray into how people derive meaning, drawing on his own thoughts on death and "the end."
LF is a brilliant lyricist and I particularly enjoyed his work on this track, and on his album Lasers.
This seems to be a little deviant from the Coup's typical political rapping, but who cares, because it's hilarious.
Boots expounds on the fact that though his car is a complete lemon, you can walk or you can get in...his car is still better than your shoes, since you don't have one. The jazz flute really completes the delight that I draw from listening to the hilarious lyrics of this track and its über-funky beat. You might put your foot through the floor, might have to use your shoulder to close the door, but my car is still better than your/my shoes.
The Tribe is one of my favorite groups as mentioned before. I think the obvious answer to this song is, "Yes!"
This track is the epitome of early 90's rap with dat funky beat. The music video has charm in spades. It just seems right that Phife Dawg and Q-Tip would just be hanging around, spittin' and asking the same question over and over...yes, yes you can kick it. Please, please, please continue kickin' it.
My friend and former housemate Adam turned me on to this in December 2012 when I was back home on vacation. At that point it had already been out for a few months (August 28 debut).
It's got mad hooks, a lively sax part, it's a tongue in cheek indictment of consumerism and the beat reminds me of the Fresh Prince theme song. What's not to love? The man can rap, teach and entertain. Haggerty even uses his music to support causes like equal marriage rights, atypical in the rap/hiphop scene.
Boots is rapping about the power the people have to take down the ruling class, alluding heavily to the French Revolution. He's been clear about his views as a communist, and in search of those pulling the strings behind the Oz-like curtain. He goes after the puppet masters in the track and music video with some very cool imagery.
My favorite magazine, Wired, did an interview with Riley when the video debuted, talking about how the themes of the song fit with his involvement in the Occupy movement.
It's difficult not to include a couple songs from the Tribe on any list...so why fight it.
Bonita is one of the Tribe's well known hits, about a very shapely and seemingly specific young woman.
My favorite line from Q-Tip in this is, "Chairman of the board, chief of affections." The poor Tip seems so smitten that, despite his superficial pleading and desire, I just hope she puts him on.
This track is ridiculously positive. It repeats that no matter what the world does to you or throws at you, you're still believed in, and you still got this! You've nothing to lose, have courage. :) Sometimes it's nice to hear folks rapping about more than just how awesome they are.
This is a guilty pleasure of mine. I can distinctly remember walking home in high school, after Science Olympiad with this running through my head. I was a pretty angsty teen, so this was probably my anthem, being applied to jocks or something like that.
The song isn't very compelling, since Luda appears to be merely expressing annoyance at yuppies in the club, since he's soooo cool. Kudos to him for doing this ridiculous MTV video with the huge hands. At very least it's a nostalgia enabler.
I came across this song more recently, on an episode of Bullseye with Jesse Thorn and Andrew Noz (#8 is also from this episode). This track is seminal and has a story concerning an argument between two graffiti artists, which you can get from wikipedia if you're interested. The thing I love about it initially is the unusual syncopation and eclectic beat borrowing from disco.
Digging into the lyrics we hear K-Rob first, rapping about life in New York city and the "moral joke" that some make out of life. He speaks in his verses about the prospects for young people and the pervasiveness of crime. Yet despite all the prostitution, violence, gang life and substance abuse Rob mentions, he concludes hopefully that "it's not too late to straighten up so give [him] a break."
Rammellzee on the other hand plays the role of a pimp and represents the darker side of New York life. His verses are seemingly much less organized, though still strongly thematic. Ram is constantly drawing attention to his prowess as a lyricist and street cred though in a very scattered, battle-esque fashion, fitting for his rivalry with Jean-Michel Basquiat. His stream-of-consciousness style contrasts with K-Rob's verses, gives the track a twist and lets the listener decide for themselves what to make of the interplay between the two.
I'm not sure where I heard this one first. My guess is from Bullseye or the Sound of Young America, but I can't find a reference to it anywhere on MaxFun, so I'm going to attribute it to a random youtube related video find.
I really like Paid in Full because of the large variety that it samples from. It sounds like "World" music, yet has a sweet 80's beat circulating throughout and grounding the lyrics. It feels like a complete cultural experience, more than just a song. Plus, you've got Rakim spitting.
I originally got into the Tribe from listening to an interview by Jesse Thorn (again) with Michael Rapaport, who made a documentary about the group.
This was one of the first Tribe songs I listened to over and over again. The track opens with a jazzy riff, into a discourse between Q-Tip and Phife that's not overstated, and expounds on the lyricism that sets them apart from other MCs. "So just clean out your ears and just check the word."
[Michael Rapaport interview]
Mikey Rocks was my one of my first forays into rap on my own. One of my college roommates heard me listening to it one day and turned me on to Nas, B.I.G. and a host of other amazing MCs and hiphop artists.
At the time, Mikey Rocks had one of the simplest yet most intriguing beats that I had heard, which is what drew me to it. It drips with distortion and gives Reed and Ingersoll ample shelf space to deposit some intricate rhymes.
I got into Killer Mike when my cousin Matt (I love his taste in music, so I usually check out anything he's listening to) mentioned that he was coming, or had done a show in Grand Rapids (my hometown). He had a longer list of bands, but Killer Mike appealed to me most, based off the tracks from those artists I listened to.
Killer Mike is often called a political or even hyper-political rapper. Mike himself says,
"I’m a social commentator and at times people have politicized the things I say, but I don’t care too much for any political party. I care about people."I would tend to agree with him. His rapping in Reagan is very political, but he comes out against both sides, criticizing Reagan, the Bushes, Clinton and Obama for attacking Qaddafi and for being pawns in the hands of those that hold the real power.
I first heard this song in my German 101 class in college. Peter Fox later became my favorite German musician. I love the work he does with Seeed as well.
He sings/raps about his love of Berlin on this track--the dark, rough beauty of the concrete city. It truly is a beautiful place, in its own unique "concrete jungle" way, and this song does justice to the artists, people and culture that call it home.
Ms. Hill has a very R&B feel. It also samples Ben Kweller pretty heavily without giving credit...oops.
Kweli is heavily supportive of Lauryn Hill in this album, while still poking fun at some of the things she's said and done (insisting on being called Ms. Hill). He chronicles some of the important moments in her life on tour and expresses concern, wishing he could be there to help her. It was written at a pretty low point in Hill's life; the positivity is in stark contrast to the criticism she was receiving at the time from Fugees bandmates and for her erratic behavior on tour.
The song is technically from a mixtape, though it was pretty widely distributed.
I'm not going to even try to analyze this one, because Jesse and Andrew Noz already have better than I could due to their knowledge of the scene.
I do like the very West-coast feel of the track, and Quik's descriptive, darker version of L.A. It's very real.
This track has a very different sound from the rest that I've listed. It's very melancholy and about someone pining after their lover/partner. They'll always be there waiting.
Is this track a little sappy? Yes. Do I care? Not so much. Sometimes you need a corny sappy song. This is that song.
Also, Urbanize is pretty on point with their fan interactions. I sent their page a facebook message (below) asking who the female vocalist was in "Warten auf Dich" since they've worked with a couple of them, but nothing is said about anyone at the beginning of their career.
Ich hab, bitte, eine Frage fuer euch ueber "Warten auf Dich."Roman sent me a very nice response (below) within 2 hours!
Wer singt mit euch? War's Candy Hammerschmidt, oder?
Vielen, vielen Dank. Finde euch ganz toll!
Von U.S.,
Steve
Warten auf Dich war nicht Candy, nein.He didn't give her identity, but confirmed that it was neither of the two well known singers, so my guess is she was a background singer that the producer Martin de Vries brought in after their original single received chart attention. Kudos to Urbanize. LG an euch alle.
In der Pitchversion war's ich selbst (Roman), in der Vocal Version eine Sängerin, aber nicht Candy.
Vielen Dank für deine Mail, ist toll sowas zu lesen :)
LG Roman
"just expressing an opinion",in response to
"I'm interested in hearing why you think that...",about their stance on the issue. Opinions are important. However, in this case opinion was confused with belief. It's important that people think. I love to hear a well thought out belief that conflicts with my own. It makes me evaluate merit and do one of three things: reject the stance due to weakness, change my position completely because of the strength of the argument, or modify my belief based on thoughts I hadn't considered before.
Flowing, powerful song; the vocals almost force you to pay attention to the lyrics.Qohelet takes a stab at what makes agnosticism frustrating...the moments of "awakening" and not only being unsure of the existence of a god, but unsure of how we might be supposed to interact. I don't know if this is exactly what dredg meant or not, but the song engaged me and provoked a deeper thought.
Concerning the anosticism [sic]:
Well I don't know what to believe anymore
But every now and then I feel a moment of awakening
But then it's gone, then it's gone, then it's gone
I'm blanketed by the warmth of ignorance
Apparently, the moments of awakening have enough value to create frustration that they don't pan out to more. It seems like the writer is embittered that the awakening is fleeting because although his blanket is warm, he calls it ignorance.
I totally agree with:
Cause there's no guarantee
Of a god or longevity
Admit you don't know anything
And give it up
although the "it" may mean more than one thing. It is interesting that we communicate as if a possible-god is obligated to guarantee us anything, as if such a being is on trial by us instead of vice versa. Speaking agnostically, if there really was some ultimate, all-knowing being able to guarantee us longevity, a special place, etc., would it be more realistic to suppose that he must prove himself to us or that we must prove ourselves to him? If the latter, then we may well be in a state without all the answers so that this possible-god can assess what we are really interested in finding out / becoming.
Rap isn't poetry. Poetry is poetry. Rap is rap.Jesse is the host of some my favorite podcasts. He's a thoughtful culture critic as well, and I've gotten many good recommendations from him in the last few years.
Rap is musical performance. The emcee, as Rakim, one of the best rappers ever put it, is the microphone soloist.
A poem might be sonorous, lovely to the ear, but it--it's still a completely different form. It's not a song.
But just as some of the best poetry has great musicality, some of the best rapping is as densely, tightly packed with figurative language and surprising meaning as a poem.
Often the layers of allusion and secondary meanings are hidden, intentionally so in fact--a marginalized culture is incentivized to speak a language its oppressor doesn't speak.
--Jesse Thorn
"Rap's not poetry, but that doesn't means it's not worth a close listen."