I’m hella late on this but you’ll have to forgive me because life has been brazy lately. Better late than never!
Like I said in my last post, this feels like a fucking movie! I’m loving the foreboding beat and the evil laugh in the beginning. As my brother pointed out, Savage’s half-assed ‘running’ dance move also just adds to the overall dark vibe here somehow; if I was doing it it would not look remotely intimidating but he somehow makes it sinister.
“I’M SLAUGHTER GANG P*SSY, YOU KNOW I BOUGHT MY KNIFE” I love Savage’s sporadic but consistent messaging over the years going back to his earlier tapes that you know he has his knife on him/that he brought his knife because he’s Slaughter Gang; all rappers talk about keeping their strap with them but something about always having your knife on you just sounds even grimier. I’m feeling Metro Boomin’s knife dance move when he says it too.
“2016 we was running around beating niggas up in the club”
“I LEAVE ALL MY CARS RUNNIN, RUNNIN, RUNNIN, ALL MY OPPS BE RUNNIN, RUNNIN, RUNNIN”
“I’M IN THE DEN WITH THE THIEVES”
“All that pillow talk I’ma have to send the boogie man come and get you”
I hate the sample that they play at the end of this/beginning of the next track on the album but I’m glad that Morgan Freeman drops plenty of jewels throughout to make up for it. Like I said in my last post, my brother nailed it when he said they got Morgan Freeman going from narrating March of the Penguins and Nat Geo’s “God” to talking about rats and snitches on a trap album; these guys are winning. I don’t listen to a ton of mainstream rap these days as you obviously know if you read this site but I have to give 21 Savage credit, this whole album feels like a movie. This is the first album I’ve listened to in a while that felt like an ‘event’ to me and we could certainly use that in 2020.
This was a dope concept for a video too, to bring the Grammy back to the hood.
Lil Yachty x Rio da Yung OG x Veeze x RMC Mike x Louie Ray x Grindhard E – Run Down
Man it seems Yachty really took Hotbox Social’s advice about buying a $75k fixer upper in Flint and staying in town for a while to heart. Seriously, how long has Lil Boat been here for?? CAN SOMEBODY PLEASE BUY THIS MAN AN AUTOWORLD SWEATSHIRT
I’m pleased to see Rio has finally joined him on one of these since he was conspicuous in his absence before this. As an added bonus I love seeing Grindhard E aka Lil E on here since not too long ago it would have been hard to imagine him appearing on a track with Lil Yachty but the whole scene is deservedly leveling up. As Mike says, “Spice talking got the Ghetto Boys moving up the ladder” Perhaps my only regret is no YN Jay this time, but hey I guess he can’t be in all of them.
Yacthy is sounding better than ever and is clearly being influenced by his new Flint cohorts, talking home security “I live on the lake leave the crib and forgot to lock it, it’s okay I got cameras there, and my brother’s sleeping upstairs he’s got hammers there.”
The only guy I wasn’t too familiar with here before this was actually Veeze, and he actually has some fire; “I’ve got bitches selling p*ssy that look like Tyra Banks, I’m rocking Carhartt shooting basketballs like I’m Drake”
“I’ve been sipping dirty water with my Flint niggas, hey Cuz I just made a lot of blues with my Crip niggas, hey Blood I could never be bool with no snitch niggas”
Martorialist won’t like this part but “I’ve been dripping since the Trues with the thick stitching”!
Rio is always cold af “The funeral home will probably run out of dirt if you murk me, if the pastor sold dope I’ll walk into church with a turkey” (2 church references in the same Rio verse!)
RMC Mike never disappoints “Walking through the set with seppys on by Palm Angels, lil bitch been chasing me for years she got strong ankles”
I’m kind of feeling the Washington Nationals hat/Heron shirt combination
P.S. even more fire from Enrgy Beats
P.P.S. Yachty is really taking his artist-in-residency seriously as there is now even Yachty/Krispy Life Kidd collab
Waka Flocka Flame – Flava / Waka Flocka Flame – Smoker
I didn’t realize how much I missed Waka Flocka until I decided to give his new tape Big Homie Flocka a couple of spins over the last week. There’s a couple of bangers on here, including Flava and Smoker.
Flava brings forth that classic Waka Flocka sound, like a mix of trap music and just straight up mosh music. “I’m doing shows selling bails at the same time, I’m taking business calls and trapping off the same line.” I love the almost gleeful way he croons about taking business calls and trapping on the same phone, clearly relishing his niche he’s carved out as a businessman who can get paid to do obscure EDM shows in Europe while still having a foot in the streets. I love the ridiculously long, overstated ‘B-rr-r-r-r-r-r-r’ phone ring ad lib after it.
“Hot Boy like I’m BG, broad day you can meet me at the BP”. Flocka has never been a lyrical wizard or anything but there’s just something about his lines like these and the way he delivers them that still make them memorable. Also, in case you haven’t noticed, I’m always a sucker for rappers that post up trapping at the gas station and tell you to meet them there.
“I put Christians on wifey she a walking blessing”
The chours for this one goes hard as fuck…
“Ay my smoker cooking dope for me, they say there ain’t no hope for me, white folks got the rope for me, my shooter bought a scope for me”
I’m loving these over the top Waka ad libs in the background after not hearing them in a couple of years. You’ve also got to respect Waka’s efficient utilization here; having one of his customers cooking for him and a shooter on his payroll gifting him an expensive scope. That’s what I call getting the most out of your investments.
I love this one mainly just for the sheer audacity of the braggadocios chorus bordering on almost obnoxiousness; “she see me out trapping she get super happy, she told all her friends I’m her baby daddy,” as he gestures with his hand to show that they’re all happily gossiping about it. Also extra style points for his impressive collection of fine females in this video especially the one in the headband, and for literally bringing a chauffeur to his trap house to pick them all up. This is a fine example of that certain post-Gucci Atlanta trap scene from the early 2010s with guys like Bambino, Parlae, Alley Boy, Eldorado Red etc. right before Atlanta got really crazy with all kinds of new styles like Migos, Future, and Young Thug taking over the sound of the city. RIP Bambino.
Tweezie brings back that throwing ‘bos in the club type music and takes the crown for top song of October with ‘Really’…
“PC Tweezie opens strong and makes his presence felt right away, pummeling the opening verse, “I was really in the trenches with them wolves, I really tote a .30 hit the gas if I get pulled. I’ll really beat your ass run up on you like a bull, I’m really getting fat them hos say I’m getting full.” I love everything about this verse – The hit the gas if I get pulled line just sounds badass AF, while in the days of rappers talking about their nose rings and desinger messenger bags it just feels refreshing to hear PC Tweezie rap about doling out a good old-fashioned beating and literally taking food off of other inmate’s plates. Lastly, I definitely respect that his hos are admiring his weight gain, because usually when I put on some extra pounds I end up just getting fat-shamed into jogging so he definitely has some serious clout.
In possibly my favorite rhyme of ‘extension’ and ‘extension’ ever, Tweezie deftly deploys it in two different usages and some pretty evocative imagery that shows he’s absolutely not fucking around: “I really keep a 40 glock that came with the extensions, I’m quick to bat a bitch and drag a ho by the extensions.” (Made even better by the ‘I’m silly’ ad lib right after).”
A big added bonus here is the headlines on the newspaper graphics in the video i.e. “Tensions Rise in Local Prison” with the byline “PC’s First Day in Lockup Didn’t Go So Well for the Other Inmates”
Ball Greezy ft. Mike Smiff, Kase 1, Major Nine – I Deserve it All
Some more Florida smoothness from Ball Greezy and co., via Rapmusichysteria , the undisputed expert on Ball Greezy and Florida slaps in general.
“Like Kodak Black, who combines new-gen meme literacy with older rap styles, Ballgreezy stands between movements but remains outside them, continuing in a post-jook mode while softening its Dionysian edges with grown-man world-weariness. At times he resembles one of the mournful songmen of today; this might be the case, and yet Greezy was crooning before Wayne and Kanye broke down the R&B doors and liberated moping for the kids of today.”
Ball Greezy kills it with a heavy but resilient verse, half rapping, half singing…
“Niggas wonder why Greezy don’t smile… I’ve been through the ups and downs, the back and forths the round and rounds. A real food stamp baby, born and raised in Little Haiti, I can’t lie the streets ain’t been the same lately. Niggas don’t keep it G no more, see they don’t make ’em like me no more. Red and blue lights behind me, where the heat gon go? Surrender or shoot it out? I heard they don’t care about you and I. I’m tired of even living like this. How the hell do you raise kids like this.
“They told me that I would never ever be shit, now my watch and my chain make them seasick”
“For whatever reason, I have to admit I’ve been sleeping on Que and have never really gotten into him/checked out much of his stuff. I guess I had heard OG Bobby Johnson back in the day and wasn’t super into it/didn’t see what all the hype was about and then kind of forgot about him. But let me be the first to say, I’ll be DAMNED if his Class Clown EP isn’t a great project with some nice slaps on it. Paramount amongst these was ’90s Baby’ which I’ve been playing over and over again all month. “I’m a ’90s baby, I keep a little .380, it’s hard to tell it’s on me, that boy thought I was naked,’ Que warns potential foes who may be debating whether or not to run up on him. Even when he’s by himself he’s never lonely because he has his little .380 with him. Delving deeper I’m not sure what being born in the 90s has to do with keeping a hidden .380 but either way I love this song. ‘He got beside himself, and got to talking reckless, he must not got the memo that me and my niggas PETTY!’ Que continues. As one of the pettiest people you’ll ever meet, I can definitely get behind this type of message.
‘He said he don’t fuck with me, well nigga vice versa… said when he see me… said he was gon do what, to who my nigga? How? You just a class clown.” I like the idea of just telling people that don’t like you ‘vice versa’ and I love how ultimately dismissive it is, ‘To who my nigga how? You just a class clown.”
I have to make a mea culpa that for whatever reason I’ve been sleeping on Que and have never really gotten into him/checked out much of his stuff. I guess I had heard OG Bobby Johnson back in the day and wasn’t super into it and then kind of forgot about him. But let me be the first to say, I’ll be DAMNED if his Class Clown EP isn’t a great short project with some nice slaps on it. Paramount among these was ’90s Baby’ which I’ve been playing over and over again all month after first hearing it on Mobsquad Nard’s takeover of the Dirty Glove Bastard Weekly playlist on Spotify.
“I’m a ’90s baby, I keep a little .380, it’s hard to tell it’s on me, that boy thought I was naked,’ Que warns potential foes who may be debating whether or not to run up on him. Even when he’s by himself he’s never lonely because he has his little .380 with him, like a reliable old friend or a guardian angel who’s always there. Delving deeper I’m not sure what being born in the 90s has to do with staying strapped with a concealed .380 but either way I can’t lie I love this song. ‘He got beside himself, and got to talking reckless, he must not got the memo that me and my niggas PETTY!’ Que continues. As one of the pettiest people you’ll ever meet, I can definitely get behind this type of message.
‘He said he don’t fuck with me, well nigga vice versa… said when he see me… said he was gon do what, to who my nigga? How? You just a class clown.” I like the idea of just telling people that don’t like you ‘vice versa’ and I love how ultimately dismissive it is, ‘To who my nigga how? You just a class clown.” (Also note the dope creepy clown artwork, just in time for Halloween).
“Your big homie a rat, you a ninja turtle. I’m a big dog, you still on puppy chow. Gold rollie on me and that bitch buss down. He thought I was naked, he can’t tell it’s on me, even when I’m out here by myself I’m never dolie. Yellow gold rollie, cost a pretty token, gotta know I’m holding, so watch how you approach me.”
It would be too tall of an order to ask Sada Baby to live up to Que’s verse and chorus here on his own flagship song, but you know what, if nothing else he certainly deserves credit for backing up Que’s claim from a minute before about how petty his niggas are, with all his talk of showing up at his enemies’ funerals stunting in a white tuxedo and ‘acting bad’.
‘The Ramones’ from this project was another good one (“Back in this bitch like I’m off of parole, black leather jacket on like the Ramones”), while ‘Can’t Complain’ is basically an interesting trap version of one of those easy-listening country songs trying to appeal to as wide an audience as possible where the artist sits back, takes a deep breath and decides that he’s doing alright with what he has so life is pretty good (“crib stocked up full of food and cream soda”), a la Que’s fellow Georgian Travis Tritt on ‘Great Day to Be Alive’, if you can believe possibly the most ridiculous analogy I’ve ever come up with. I like this direction Que is heading in and much like Berner before him he’s transitioned from a rapper I largely just overlook to one who I’m keeping an eye out for more new releases from and for that Que, I salute you.
Ohhhhhhh yeah. Stop the presses, stop the presses! We interrupt this broadcast to bring you good tidings and news of Berner’s new collaboration with Young Dolph and Gucci Mane, ‘Knuckles’. Seriously could there be any better news for an erstwhile, newly out of the closet Berner fan such as myself than news that not only does he have a new song with The King of Memphis and Wop, but that he has a whole EP coming out with Dolph? (Berner is carving out quite the niche market for himself with these ‘collaboration’ albums/mixtapes he’s got projects out with everyone from Cam’ron to The Jacka, including his most recent ‘Vibes’ project with Styles P which was a very solid release). I feel like Big Bern’s stock is at an all-time high right now. Ask the rap gods for new Berner material and ye shall receive. Honestly at this point I may need to make a new category on this blog for Just Berner. At this point it’s too early to say but Knuckles may be my favorite Berner song, and you’re talking to a man who listened to a good 4 Berner albums on a long drive last night.
According to Dirty Glove Bastard, the upcoming project with Young Dolph, entitled ‘Tracking Numbers,’ will have features from Gucci Mane, Peewee Longway, OJ Da Juiceman, Juicy J, Philthy Rich, and more. I can’t wait to hear the one with Project Pat. I loved DGB’s tepid/noncommital reaction to news of the Berner/Dolph project – “Berner & Young Dolph were probably the last 2 people you’d expect to collab for an entire project, but here we are.” You’ve got to love the ‘But here we are’ as the way to end your thoughts on something that you’re just not sure what to make of. Also, are the ‘Tracking Numbers’ referred to in the title referring to shipments from the Cookies clothing line that this hard-working fashion entrepeneur is senidng out to his customers, or to ‘cookies’ of a more illicit nature? Only time will tell when the album comes out.
I was excited enough just to see an unexpected collaboration between these 3, but the beat by TraxxFDR (who has collaborated with Berner previously and whipped up some magic with him on my previous favorite Berner song) is absolutely delicious and takes this song to a whole different level. I’m curious who made it and what the sample is from. It has me feeling like I’m at a roller rink in the 70s with Berner, Dolph and the crew just casually skating around, smoking some cookie, chatting up the roller girls. If I do a ‘beats of the year’ type article at the end of the year this one has staked a strong claim to the top of the list.
Young Scooter goes hard AF on the Future-assisted ‘Can’t Play Around’ off his new album ‘Jugg King’. The piano-laced beat is so harsh and foreboding, I feel like I’m ready to scale the castle walls and go to battle with this Black Migo Gang/Freebandz horde. This is one of the best songs I’ve heard out of ATL’s legion of trap rappers in a while and it feels great to blast it out of the car.
Future sounds great on the chorus; “I stay working through a hard rain and thunderstorm, I’m gonna stack this paper up again like I’ve never done. I’ve got these rose gold jewels I feel better now, I put the city on my back and I can’t let ’em down.” There’s just an unmistakable heaviness to this track, with the way Future extols hustling whether it rains or shines, and how Future and Scooter both reflect on losing everything and getting it back.
I love Young Scooter’s first line, “They like Scooter where you been, bitch I’m in Saint Laurent. My nigga VL keep that stick like he play lacrosse.”
This is more my fault than any reflection on Scooter himself but I guess I had overlooked him a bit, with so many rappers coming out of Atlanta during that sort of first ‘post-Gucci Mane’ era/wave and sort of all being part of that same scene and aesthetic. I had always more thought of him as Gucci’s old cellmate/a guy being featured on songs with Gucci, Future, Chief Keef, etc. but he certainly seems to be rounding into form as his own artist and making his own name for himself; Jugg King was a really strong project top to bottom so I’m interested in checking out some of his previous output now. Also even with all of the work we’ve gotten from Future this year, by year end I think that Can’t Play Around is going to be amongst his top few tracks of 2017.
File this one under unlikelist of trios I would have expected to link up and make a song together. Not only do these guys join forces, but unlike some other unexpected combinations where the actual track underwhelms and is less interesting than the combination of names itself, these tres amigos bring the fire on Hunnid.
Yakki (nee Yakki Divoshi) absolutely manhandles the chorus on this one as he gleefully booms out ‘I can make a hundred in a daayyyyyy’ and between Hemsworth’s bouncy, summery beat and Yakki’s catchy chorus this song really should get big and be one of the songs of the summer. I feel like Yakki should start blowing up to and start getting even more buzz than he already has, with a couple of bangers under his name now like ‘Trust Issues’ with PNB Rock and the Lil Uzi-assisted ‘Xans’ from his recent album ‘Yakkistick’ which was a pretty enjoyable project. “Every night I’m eating steak and shrimp ’cause I ain’t going back to Church’s”, howls Big Yak at the end of his verse about grinding day and night and then ungrateful people wanting things from you.
Approaching 50, E-40 has shown an amazing knack for longevity and staying relevant in the rap game. I’d imagine life is pretty good for the Sik Wid It CEO right now, with his young bols on the label like OMB Peezy and Nef the Pharaoh making a ton of noise over the past year, but on ‘Hunnid’, like a grizzled player-coach that can still step off the bench and hit a few 3’s in a pinch, E-40 shows that he’s still got it. I’m feeling the Backwoods hoodie E-40 is rocking here too; as one of rap’s elder statesmen he’s not out here rocking skinny moto jeans or some designer shirt with sparkles and rhinestones on it, he’s just keeping it simple and relaxed wearing a comfortable hoodie and winter hat with shades, which is more befitting of a legend of his stature at this point. Shout out to E-40 for the casual, self-aware swagger.
I don’t know much about this dude Hemsworth aside from the fact that he’s from Canada, he produced this sick beat, and apparently he’s one of Yakki’s coworkers at the autobody in the video. From the looks of it this song is from his own album that he’s working on. It looks like he does work both inside and outside the rap genre, which I actually think is a good thing because it gives artists different types of beats to work with and brings in some different perspectives, and between this and working with Adamn Killa on his other recent rap foray ‘Commas’ I’ve definitely got to give the guy credit for having good taste in rappers.
I also like the choice of the yellow Firebird for the car in the video; an underrated American icon in my humble opinion, and the Nef the Pharaoh cameo rocking out with the Sik Wid It chain. I wish they added in a verse from Nef at the end since he was there anyway, but I guess we can’t get TOO greedy since it was already a great song.