#NOT TO MENTION that even some of their more recent albums occasionally have stellar songs

[eliounora]

I think coldplay has earned its reputation as your average easily digestible mild middle-aged poprock but their earlier albums really were solid, I am oft rolling my eyes when people ridicule them like yeah they're british dads producing marketable singles about partying now but parachutes? a rush of blood to the head? substantial. clean. sharp. all yellow

[airadam]

Episode 130 : In The House

"We'll get the drums goin' so you can dance again, don't worry..."

- "Old Man" Ebro

I think it's fair to say that this has been a month like no other, certainly in the UK, where the restrictions on movement that other places in the world were ahead of us on finally came down. These are strange times where we're all trying to get used to new ways of living, but I hope this month's show has some tunes that can lift your mood a little!

As mentioned in the show, Hip-Hop Chip Shop are selling gift vouchers which you can cash in when the restaurant opens back up - and crucially, for every one bought, they'll donate a meal to someone in need!

Twitter : @airadam13

Playlist/Notes

Heltah Skeltah : Operation Lock Down

The sampler 12" for the "Nocturnal" LP made its way onto my turntables this month, and this old 90s favourite wormed its way into my head as a possible inclusion for this episode. I umm-ed and ahh-ed but a chat with someone whose opinion I respect convinced me to go with it. Actually referring to Heltah Skeltah and Boot Camp Clik's goal to lock down the industry, it was a big statement of intent for the Ruck (Sean Price) and Rock, two MCs making their entry to the game. The skills are on display without question though, and this track is notable for being a reach outside their camp for production - E-Swift of Tha Alkaholiks is on the boards for the woozy, dreamlike thump. Big tune then, and unexpectedly fitting now.

Abstract Orchestra : Eyes Up

Great version of a solid Slum Village beat. Abstract Orchestra have been touring and recording for a while with their takes on J Dilla material, and along with the current lineup of Slum Village, they've finally released "Fantastic 2020", a version of the classic "Fantastic, Volume 2" with instrumental and vocal tracks. By the way - make sure to buy the two-disc CD version for all the content!

Voodoo Black ft. LayFullStop : In The Mood

Voodoo Black have been getting ratings here since the start - and it was an honour to have Dubbul O, one of the MCs, here as a guest last year - and so it's with great pleasure that we can talk about their debut LP! "Sitting At The Table" will have just been released as you read this, and it's a lean ten-track collection that does Manchester proud. Ellis Meade, Sparkz, and Dubbul O are joined on this particular number by adopted Manchester daughter LayFullStop, who really does set the mood on top of the DJ Cutterz beat. It's always great to see sustained effort come out on top!

Kombo ft. Vinia Mojica : Sands Of Time

I played the wicked B-side to this back on episode 2 (!), then filed the vinyl back on the shelf from where it occasionally made outings - but only as part of the recent effort to digitise my collection has the A-side really got the deep listening it deserved. Ge-ology on the chilled beat perfectly scores Kombo's love rhymes, and Vinia Mojica keeps it subtle with her vocal contribution. 

Little Brother : Altitudes (Flyin' High)

Another great B-side that may have escaped your notice! Back in 2002, Little Brother were making noise on the underground as a promising crew on the rise - one of the first to blow up primarily on the internet - and their single "Whatever You Say" was a mixshow/mixtape staple of the time. Tucked away at the very end of the B-side was this little gem that didn't make the album (but was later heard on "The Chittlin Circuit 1.5"), themed around aviation and featuring classic 9th Wonder production underneath confident rhymes from Phonte and Big Pooh.

Consequence ft. Phife Dawg : No Place Like Home

One of the last tracks Phife ever recorded, this was a great release from last year. These two real-life cousins who both made their different contributions to A Tribe Called Quest over the years come together in an ode to their home of Queens over a smooth beat by Cons and Mike Cash, with Alex Isley on the hook. Yes, that "Isley" does in fact link directly to the famous Isley Brothers - the songwriting and multi-instrumentalist legend Ernie is her father!

Superior Thought : Sky

I was amazed I hadn't played this already - quality sample-heavy beat by a producer and engineer out of London, a 2011 release that feels like it was only out a few weeks ago! Pick this one up on the "S'strumentals" LP along with twenty-three other beats, and all for free!

Clear Soul Forces : Kraken

Always here for some CSF. Ilajide brings the bump as always, and on the mic, all the MCs are representing lovely. This was available on the Fat Beats 25th Anniversary Compilation from last year, but CSF have a brand new LP out which is well worth checking! 

Freddie Gibbs & Madlib ft. Anderson .Paak : Giannis

Anderson does his thing here for sure, but Gibbs is unquestionably the star turn on the mic here. Waka Flocka Flame recently admitted being a "wack rapper" but said "my realness overcame my wackness". Freddie Gibbs has the realness and the skills. This is one of the big tunes from his second LP with Madlib, "Bandana", which is definitely worth your time for a listen. The quick line that gives the track its title ("real Gs move in silence like Giannis") might not be the first time someone has referenced a silent "G" in that way, but then Gibbs builds off it immediately afterwards like the elite MC that he is.

The Cool Kids ft. Louis The Child : Super Smash Bros

Tim Dog's "Fuck Compton" was an angry diss. Pusha T dripped with disgust at Drake's conduct on "The Story of Adidon". This? This is... disdainful. Dismissive. The Cool Kids sound like they're just annoyed they had to take time out of their day to address people who aren't coming up to standard. It's also kind of amusing to me that here's a group I remember as the new young artists - now, several years down the line, they are older heads disappointed about how the new generation of youngsters are doing it! Wicked single, with fellow Illinois natives Louis The Child providing the booming beat. Full marks for the inspired sampling of Ebro's rant for the break after the first verse; if you didn't know (and I didn't at first), you'd think this was recorded specifically for this track!

Stic : Motivated

It is so time for a second album of motivational music by Stic of dead prez! The original "The Workout" was an original and welcome release for those in the know, and hopefully the sequel can gather even more of a following. Here, his dramatic production comes through with "Eye of the Tiger" vibes filtered through a Hip-Hop mentality, with a positive lyrical message of pushing forward to victory! 

DJ Bombjack : From The Depths Of The Soul

Another one that popped up in my vinyl conversion mission, this is a nice instrumental from a UK DJ and producer from the 1999 "The Brothers Grim" EP.

De La Soul : The Future

Supa Dave West made this one thump! This is the opener on "The Grind Date", and the sampled hook points to an mix of optimism about the future and a determination to shape it. The solid two verses speak on the unquestionably strong legacy De La have carved out over the years - and they're not done yet.

Lisa Shaw : I'm Okay

This was a track from the 2009 "Free" album that I overlooked for a long time in favour of some of the others, but have grown to appreciate. Lisa's voice has the kind of cool clarity that points to the influence of Sade, and Dave Warrin keeps the production low-key to give her space to breathe.

Jazzanova : No Use

A personal headphone favourite which somehow hadn't been played on the show yet! Jazzy (as you'd expect), continental, breezy production from the German production collective, with the kind of delicate balancing of elements that so many fail to master. Clara Hill's lead vocals fit in perfectly, making this a really satisfying listen. The "In Between" album is almost twenty years old, but hasn't really aged at all.

Pete Rock ft. Carl McIntosh & Jane Eugene : Take Your Time

If you've never heard Pete Rock's "Soul Survivor" LP, it's a must-own - he takes an imaginative selection of excellent guests and knocks it out of the park with his stellar production. This is a prime example, where he shows his appreciation for talent that wasn't necessarily "current" at the time, bringing in McIntosh and Eugene of the seminal UK group Loose Ends to lend their soulful vibes. The beat is a relaxed head-nodder supreme, and Pete gets it done on the mic too - not breaking your head open with crazy bars, just staying in the pocket, which is what the track needs.

MindsOne & Kev Brown : Manipulated (Instrumental)

Kev Brown really is one of the best when it comes to those basslines. My god. Serious beat from the 2014 "Pillars" EP.

The Notorious B.I.G. : Hypnotize

A huge tune to finish, one which can't fail to put a smile on your face! I first heard this one in a club, likely just before its official release, and the reaction it got was something special. The first single from "Life After Death", and the last Biggie record to be released before his death, this was a perfect combination of elements. Biggie's rhymes had skills for the streets but still appealed to the club and radio, The Hitmen took the Herb Alpert "Rise" sample and gave it new energy, and Total's Pamela Long nailed the infectious, sing-along hook. Fittingly for our current times, that hook is almost exactly twenty seconds long, making it a perfect timer for thorough hand-washing. So fresh, so clean.

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

[jaycross666]

It’s been nearly ten years since Lil Wayne, on Birdman’s 2009 hit, “Money to Blow,” implored listeners not to worry about Cash Money’s future because the label would be all right as long as they “put Drake on every hook.”

Since then, Drake’s earned the right to be mentioned in the same breath as Rap’s Greatest Scene-Stealers ever—Busta Rhymes, André 3000, and Lil Wayne—as he’s swiped dozens of songs out from under artists on the strength of show-stopping guest verses.

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Even more, a Drake feature practically guarantees you a hit: over the past decade, he’s guested on seven No. 1 singles on Billboard’s Hot Rap Songs chart (“No Lie,” “Moment 4 Life,” “Right Above It,” “Aston Martin Music,” “I’m On One,” “Say Something,” and “Only”), and 13 Top 10 hits on the Hot 100 (“Work,” “What's My Name,” “She Will,” “MIA,” “Look Alive,” “No Guidance,” “Going Bad,” “Yes Indeed,” “Right Above It,” “F***** Problem,” “Love Me,” “I’m On One,” and “Walk It Talk It”).

With his status as hip-hop’s Feature King unchallenged, here are Drake’s 50 best guest verses.

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But first, a couple of notes before we begin:

We’ve omitted songs where Drake only sings the hook: Rick Ross’ “Diced Pineapples” and “Aston Martin Music”; Lil Wayne’s “She Will,” “Love Me,” and “With You”; Gucci Mane’s “Back on Road”; Tyga’s “Still Got It.”

Also ineligible are remixes that double as Drake freestyles: “We Made It,” “Paris Morton Music,” “Sweeterman,” “Tell Your Friends,” and “Freak N You.”

Without further ado...

50. Nicki Minaj — “Champion” ft. Drake, Nas & Young Jeezy

Album: Pink Friday: Roman Reloaded (2012)Producer: T-Minus, Nikhil Seetharam

Two years before he was having tea with Erykah Badu on 2014 loosie “Days In the East,” Drizzy mentions that he used to stay with her in his verse on “Champion.” And while Jeezy might steal the show with his appearance, Drake delivers the more confident verse, reflecting on how he makes “hits in three acre cribs” and “stars outta basic bitches.”

49. PartyNextDoor — “Recognize” ft. Drake

Album: PartyNextDoor Two (2014)Producer: PartyNextDoor

This is Peak Drake: In the span of two bars, he plans trips to Europe, then remembers his side piece’s Benz needs snow-equipped tires.

48. Preme — “DnF” ft. Drake & Future

Album: Dear America (2014)Producer: Noel Cadastre & Noah “40” Shebib

You’d be remiss to bring up this verse around lyrical heads, but admit it: Drake’s performance on “DnF” is unbelievably catchy. Even more, it contains one of the best Sad Boy Drake sequences in his catalog.

47. Big Sean — “Made” ft. Drake

Album: Finally Famous... Vol. 3: BIG (2010)Producer: Kanye West

In the summer of 2010, Big Sean should’ve known better than to request a feature from the Rap Rookie of the Year. Predictably, his decision backfired: Drake not only washed the Detroit rapper on his own song (“Made”), but arguably had the best overall verse on the entire mixtape. I wish I could say Sean learned his lesson, but considering what took place three summers later (Kendrick’s guest spot on “Control”), we both know the answer.

46. Rick Ross — “Gold Roses” ft. Drake

Album: Port of Miami 2 (2019)Producer: OZ, Syk Sense, Vinylz, & The Rascals

Writing about the song in his review of Port of Miami 2, my friend Yoh said it best: “Drake has one of the most seamless deliveries in hip-hop. The words don’t have any weight, and his voice never fumbles the cadence. He steps into a particular zone. As a lyricist and performer, Drake must be considered a great rapper. The blasphemy line. The double-jointed line, too. Scorpion needed ‘Gold Roses’ more than Port of Miami 2.”

45. French Montana — “No Shopping” ft. Drake

Album: MC4 (2016)Producer: Murda Beatz, Cubeatz

Congrats to Joe Budden for turning a one-sided war against Drake into the most unnecessary rap beef in recent memory. In the summer of 2016, their feud culminated in Drake sending multiple shots at Budden on French Montana’s “No Shopping.” In hindsight, these barbs overshadow Drizzy’s superb verse, which has earned its place in the canon of underrated Drake guest spots.

44. Bun B — “Put It Down” ft. Drake

Album: Trill OG (2010)Producer: Boi-1da, D10

Nine years on, Drake’s verse on Bun B’s “Put It Down” has aged like fine wine. Following a couple of cringy lines early on (“I never cheat unless you count the girls I cheat on;” “Homesick just when I thought I was sick of home”), Drake finds his sweet spot and begins rapping like the superstar he’d soon become.

43. Meek Mill — “Going Bad” ft. Drake

Album: Championships (2018)Producer: Wheezy

Drake’s 2018 guest-appearance blitz will go down as one of the best in his career. After owning the winter with “Look Alive” and “Walk It Talk It,” the summer with “Yes Indeed” and “SICKO MODE,” and the fall with “Never Recover” and “MIA,” Drake still had enough left in the tank to supply his former rival, Meek Mill, with one of his best verses of the year on their reunion collaboration, “Going Bad.”

42. Jamie Foxx — “Fall For Your Type” ft. Drake

Album: Best Night of My Life (2010)Producer: Noah “40” Shebib, Rico Love, & Drake

After spending 2010 singing hooks for A-list rappers like Birdman (“Money to Blow”), Lil Wayne (“With You”), and Rick Ross (“Aston Martin Music”), Drake capped off the year by flexing his versatility alongside an A-list R&B star. On Jamie Foxx’s “Fall For Your Type,” Drake’s closing verse introduced fans to the off-script, sing-song style he’s now known to implement when rapping over R&B beats.

41. Rihanna — “What’s My Name?” ft. Drake

Album: Loud (2010)Producer: StarGate, Kuk Harrell

“Best I Ever Had” and “Find Your Love” may have been the first tracks that showcased Drake’s mainstream popularity, but his guest spot on Rihanna’s No. 1 hit, “What’s My Name,” proved he could be a pop-star in his own right.

40. T.I. — “Poppin Bottles” ft. Drake

Album: No Mercy (2010)Producer: T-Minus, Nikhil Seetharam

On the No Mercy standout, Drake makes up for a lack of lyrics with a devastating flow, cementing his swag-soaked performance as one of the first iconic club bangers of his career.

39. Timbaland — “Know Bout Me” ft. Drake & JAY-Z

Album: Opera Noir (2013)Producer: Timbaland & J-Roc

Timbaland’s “Know Bout Me” could’ve been another stellar collaboration between JAY-Z and Drake. Instead, Jigga merely spoke 16 words on the intro, “We gotta sell these bitches the dream, my n***a. N****s like Walt Disney around this bitch.” Thankfully, Drake made up for his counterpart’s no-show and went in with a double-time delivery on the second verse.

38. The Game — “Good Girls Go Bad” ft. Drake

Album: The R.E.D. Album (2011)Producer: Cool & Dre

Despite being one of the cornier verses in his catalog, you’d be hard pressed to find another Drake guest spot as funny as his appearance on Game’s “Good Girls Go Bad.” The 16-bar verse is filled with hilarious quotables, from the opening lines (“Good evening, I’m in Chicago at the Elysian / With some girls that say they models but ummm, I don’t believe ‘em”) to his use of childhood TV references as pickup lines, to the way in which he tosses aside a former flame in brutally honest fashion.

37. Waka Flocka Flame — “Round of Applause” ft. Drake

Album: Triple F Life: Friends, Fans & Family (2012)Producer: Lex Luger

Following his sympathetic verse about strippers on The Weeknd’s “The Zone,” Drake pivoted on Waka Flocka’s strip club anthem, “Round of Applause,” delivering the most malicious stripper tribute of his career. Backed by Lex Luger’s pulsating beat, Drizzy leaves his feelings at the door.

36. SBTRKT — “Wildfire (OVO Remix)” ft. Drake

Album: N/A (2011)Producer: Jerome

On May 20, 2011, Drake posted a remix of SBTRKT’s “Wildfire” to his OVO blog. The track was quickly erased from our minds, however, when “Dreams Money Can Buy” arrived hours later. Eight years on, you won’t find many people who’re familiar with Drake’s verse on “Wildfire,” let alone aware of its greatness. This lack of recognition, though, is exactly what makes it such a rewarding listen.

35. Nicki Minaj — “Only” ft. Drake, Lil Wayne & Chris Brown

Album: The Pinkprint (2014)Producer: Dr. Luke, Cirkut & JMIKE

Is it the strongest song by Young Money’s three-headed monster? Not a chance. But that doesn’t mean it’s not an entertaining listen, especially Drake’s verse, which is perhaps the funniest guest spot in his discography.

34. YG — “Who Do You Love?” ft. Drake

Album: My Krazy Life (2014)Producer: Mustard

As someone who loves to ride the latest wave, Drake had no choice but to link up with 2014’s hottest rapper-producer duo, YG and Mustard, on the former’s hit single, “Who Do You Love?” After lacing the Bompton rapper with an excellent guest spot, though, Drizzy was forced to settle a dispute with Rappin’ 4-Tay, who called him out for biting his 1994 song, “Playaz Club.”

33. The Weeknd — “Live For” ft. Drake

Album: Kiss Land (2013)Producer: The Weeknd, DaHeala & DannyBoyStyles

Nearly a year after linking up on Thursday standout “The Zone,” Abel and Aubrey joined forces for “Live For,” the fourth single from The Weeknd’s debut studio album, Kiss Land. Released in August 2013, a few weeks before the release of Nothing Was the Same, the sprawling cut found Drake assessing the competition.

32. Fetty Wap — “My Way (Remix)” ft. Drake

Album: N/A (2015)Producer: NickEBeats, JayFrance & Micah Street

If you’re still not convinced of the power of the Drake co-sign: With this remix, Fetty became the first rapper to have his first four debut singles chart in the top 10 on the Hot Rap Songs chart simultaneously: "Trap Queen" (No. 2), "My Way" (No. 3), "679" (No. 5), and "Again" (No. 8).

31. DJ Drama — “We in This Bitch 1.5” ft. Drake & Future

Album: Quality Street Music (2012)Producer: Kane Beatz & JMIKE

Occasionally, Drake is capable of stealing a song on the strength of his charisma. DJ Drama’s “We In This Bitch 1.5” is one of those rare instances, as Drizzy needs just one minute to set the tone and hijack the song, with a lively opening sequence.

30. The Weeknd — “The Zone” ft. Drake

Album: Thursday (2011)Producer: Doc McKinney & Illangelo

The first collaboration between The Weeknd and Drake on one of Abel’s projects, “The Zone” lived up to the potential the duo displayed on Take Care standouts “Crew Love” and “The Ride.” “The Zone” sees The Weeknd set the stage for Drake’s big entrance. From there, Drizzy offers up the most gentle verse about a strip club ever laid to wax.

29. Lil Wayne — “It’s Good” ft. Drake & Jadakiss”

Album: Tha Carter IV (2011)Producer: Cool & Dre

This song is remembered for Lil Wayne’s subliminal shot at JAY-Z, but Drake has the best verse on the collab. The Boy’s appearance is a short one, but it hooks you immediately, before it ends with him announcing Wayne’s return home in triumphant fashion.

28. Mary J. Blige — “Mr. Wrong” ft. Drake

Album: My Life II… The Journey Continues (Act 1) (2011)Producer: Jim Jonsin & Rico Love

It’s easy to forget from 2009 to 2011, Drake was the Best R&B Guest Rapper Alive, scoring features with everyone from legends Mary J. Blige (“The One”), Alicia Keys (“Un-thinkable (I’m Ready)”), and Jamie Foxx (“Digital Girl,” “Fall For Your Type”), to present-day superstars like Chris Brown (“Deuces (Remix)”), Sean Garrett (“Feel Love”), and Trey Songz (“I Invented Sex,” “Unusual”). His second collab with the Queen, “Mr. Wrong,” remains his most underrated R&B feature to date.

27. Fabolous — “Throw It In the Bag (Remix)” ft. Drake & The-Dream

Album: N/A (2009)Producer: Tricky Stewart & The-Dream

Long before he’d declare his intent to give Halle Berry a baby on 2013’s “Versace (Remix),” Drake professed his love for older women on the remix to Fabulous’ 2009 hit single, “Throw It In the Bag.”

26. Travis Scott — “SICKO MODE” ft. Drake & Swae Lee

Album: Astroworld (2018)Producer: Hit-Boy, OZ, Tay Keith, Cubeatz, Chahayed & Mike Dean

If Drake was properly credited, there’s a good chance “SICKO MODE” would rank inside the top 10. Not that it matters much, considering his opening and closing verses are arguably the highlights of the ASTROWORLD standout.

25. Aaliyah — “Enough Said” ft. Drake

Album: N/A (2012)Producer: Noah “40” Shebib

In order to appreciate the overlooked greatness of this 2012 loosie, let’s ignore the fact that Drake is listed as the featured artist on an OVO-sanctioned, posthumous Aaliyah single. Backed by 40’s smoky, after-hours R&B production and the late singer’s silky falsetto, Drizzy unleashes one of his classic confessionals.

24. Game — “100” ft. Drake

Album: The Documentary 2 (2015)Producer: Cardo & Juliano

Twenty-six days before Meek Mill would kick-off the biggest rap beef this decade, Drake was already on the defensive. When listening to his verse on “100,” you don’t have to read between the lines. He sounds exhausted while reflecting on his position atop hip-hop, and the incessant threats that come with it. And yet, Drizzy still appears unfazed, too busy making his circle smaller to concern himself with opposing forces on the horizon.

23. A$AP Rocky — “F**kin’ Problems” ft. Drake, Kendrick Lamar & 2 Chainz

Album: Long.Live.ASAP (2013)Producer: Noah “40” Shebib

Released in October 2012, “Problems” wasn’t just the year’s most star-studded posse cut, but also a changing of the guard moment for hip-hop. At the time, Rocky was two months away from dropping his debut album; 2 Chainz and Kendrick were fresh off releasing theirs. And then, of course, you had Drake, who was just hitting his prime. While it’s debatable which rapper had the best verse, there’s no denying Drizzy came off as the biggest star of the bunch.

22. Lil Reese — “Us (Remix)” ft. Drake & Rick Ross

Album: N/A (2012)Producer: Young Chop

By the fall of 2012, Drake was amidst a flawless streak of guest spots: Rick Ross’ “Stay Schemin’,” DJ Drama’s “We In This Bitch 1.5,” Nicki Minaj’s “Champion,” 2 Chainz’s “No Lie,” French Montana’s “Pop That,” Meek Mill’s “Amen,” Aaliyah’s “Enough Said.” As if that wasn’t already one of the greatest runs by a featured rapper, Drizzy made sure to earn more street cred points that October, when he hopped on to the remix to Lil Reese’s “Us”.

21. Birdman — “Money to Blow” ft. Drake & Lil Wayne

Album: Priceless (2009)Producer: Drumma Boy

Fresh off a summer in which he catapulted to superstardom on the back of a handful of hit singles (“Best I Ever Had,” "Successful,” “Forever”), Drake proved he possessed the Midas touch on the fall 2009 anthem, “Money to Blow,” which, of course, is remembered for Lil Wayne’s prophetic line: “We gon’ be alright if we put Drake on every hook.”

20. Tinashe — “2 On (Remix)” ft. Drake & OB O’Brien

Album: N/A (2014)Producer: Mustard, Redwine & DJ Marley Waters

Drake ran the rap game in 2014 solely on the strength of one-off singles. Take a moment and look at this murderer’s row of hits he released between December 2013 and October 2014: “0 to 100/The Catch Up,” “Tuesday,” “Draft Day,” “Trophies,” “Wade Made It,” “Days in the East,” “How Bout Now,” “6 God,” and “Heat of the Moment.” I mean, good God. Perhaps the greatest testament to Drake’s unbelievable run that year is that “2 On/Thotful” is probably the eighth best song in the group.

19. ILOVEMAKONNEN — “Tuesday” ft. Drake

Album: ILoveMakonnen (2014)Producer: Sonny Digital & Metro Boomin

Built around Sonny Digital and Metro Boomin’s syrupy beat and iLoveMakonnen’s Auto-Tune-enhanced vocals, “Tuesday” provided Drake an opportunity to step out of his comfort zone. By delivering perhaps the best vocal performance he’s ever laid to wax, Drake helped “Tuesday” go viral, which in turn, minted Makonnen a star and gave the most boring day of the week new meaning.

18. Kendrick Lamar — “Poetic Justice” ft. Drake

Album: good kid, m.A.A.d city (2012)Producer: Scoop DeVille

The Kendrick Washed Drake on Take Care camp (via his scene-stealing guest spot on “Buried Alive Interlude”) seem to have forgotten that The Boy returned the favor on Kendrick’s debut album, good kid, m.A.A.D city. Drake’s appearance on “Poetic Justice” might not jump out at you, but when stacked against either of Kendrick’s verses on the song, it’s obvious who comes out on top.

17. Nicki Minaj — “Moment 4 Life” ft. Drake

Album: Pink Friday (2010)Producer: T-Minus

“This supposed to be y’all year? We ain’t get the memo,” Drake raps on “Moment 4 Life,” a highlight from Nicki Minaj’s debut album, Pink Friday. At the time, you couldn’t blame Young Money’s roster for feeling themselves. In the fall of 2010, the label boasted the Best Rapper Alive, Lil Wayne, along with the Rap co-Rookies of the Year, Drizzy and Nicki, both of which released their debuts within five months of one another.

16. Alicia Keys — “Un-thinkable (I’m Ready) (Remix)” ft. Drake

Album: N/A (2010)Producer: Alicia Keys, Kenny Brothers Jr. & Noah “40” Shebib

For someone who, in recent years, has been clowned for their immaturity and inability to grow as an artist, it’s easy to forget that there was a time when Drake seemed wise beyond his years. This verse is enough of a reminder, as a 23-year-old Drizzy voices his inner fears about partying too much and not finding the right woman.

15. Lil Wayne — “Believe Me” ft. Drake

Album: N/A (2014)Producer: Vinylz & Boi-1da

Five years after Lil Wayne told listeners, on “Money to Blow,” not to worry about Cash Money’s future because the label would be alright as long as they "put Drake on every hook,” Drake continued his mentor’s prophetic claims on “Believe Me.” From the jump, Drizzy assumes the role of host to the welcome-back party, rolling out the red carpet for his Big Homie, with one of his best guest spots this decade.

14. Big Sean — “Blessings” ft. Drake

Album: Dark Sky Paradise (2015)Producer: Vinylz & Allen Ritter

Big Sean dropped “Blessings” on January 30, 2015, exactly two weeks before Drake would surprise-release If You’re Reading This It’s Too Late. In hindsight, his verse here gives us a taste of the subject matter he’d visit on IYRTITL: Feuding with YMCMB over unpaid royalties, worrying about his mother, throwing shade at the press, and, of course, repping the 6.

13. Lil Wayne — “Right Above It” ft. Drake

Album: I Am Not a Human Being (2010)Producer: Kane Beatz

If I Am Not a Human Being was Lil’ Wayne’s pre-prison curtain-call, then “Right Above It” was his victory lap. Backed by triumphant production courtesy of Kane Beatz, Drake, the Rap Rookie of the Year, delivered a career-defining guest verse that marks the moment the torch was passed between the Young Money President and his protégé.

12. BlocBoy JB — “Look Alive” ft. Drake

Album: Simi (2018)Producer: Tay Keith

Considering that the best part of Drake’s guest appearance on “Look Alive” is the infectious hook, you could argue that his eight-bar verse doesn’t deserve to be ranked this high. In this case, however, Drake does such an excellent job blending the hook and his first verse together, that you have no choice but to consider them one and the same.

11. 2 Chainz — “Big Amount” ft. Drake

Album: Daniel Son; Necklace Son (2016)Producer: Buddah Bless

On “Big Amount,” Drake raps circles around 2 Chainz without even breaking a sweat. His verse is so effortlessly executed that it’s easy to miss how casually arrogant it actually is. And yet, once his calm, cool and collected delivery wins you over, don’t be surprised if you find yourself admiring each arrogant boast.

10. Meek Mill — “Amen” ft. Drake

Album: Dreamchasers 2 (2012)Producer: Key Wane & Jahlil Beats

Backed by a gospel-clapping, organ-laced piano loop, there’s no denying fans were shocked to hear Meek rap over a beat so far out of his wheelhouse, so effortlessly. In an alternate universe, we might remember “Amen” for Meek’s jubilant hook. Unfortunately for Meek stans, though, The Boy showed up and stole the song while operating on cruise control.

9. 2 Chainz — “No Lie” ft. Drake

Album: Based on a T.R.U. Story (2012)Producer: Mike Will Made It

Fresh off his show-stopping guest spots on Kanye West’s “Mercy” and Nicki Minaj’s “Beez In the Trap,” 2 Chainz entered the summer of 2012 as the hottest feature in hip-hop. Then, in an admirable move in the spirit of competition, Drake reclaimed the title by dusting Tity Boi on the Atlanta rapper’s debut single, “No Lie.” Thanks to his contagious hook and instantly-quotable verse, the banger was inescapable that summer.

8. Rick Ross — “Made Men” ft. Drake

Album: Ashes to Ashes (2010)Producer: 2 Tall Beats

After spending the fall of 2010 handing out guest verses to R&B singers such as Jamie Foxx (“Fall For Your Type”), Tank (“Celebration”), Rihanna (“What’s My Name”), and Trey Songz (“The Usual”), Drake needed to raise his street cred. So, that December, he hopped on one of the hardest beats he’d ever come across, then proceeded to murder the hardest rapper alive, Rick Ross, on his own shit.

7. PARTYNEXTDOOR — “Over Here” ft. Drake

Album: PartyNextDoor (2013)Producer: PartyNextDoor

The most underrated verse of Drake’s career is a victim of circumstance. Released the same day as “Versace (Remix)”—only one of the two or three best guest verses in his catalog—“Over Here” remains criminally overlooked in the canon of Drizzy features. Backed by a murky beat courtesy of PND and 40, Drake’s double time verse makes you feel like you’re sitting shotgun in his Bugatti while he navigates through the streets of Toronto.

6. Future — “Sh!t (Remix)” ft. Drake & Juicy J

Album: N/A (2013)Producer: Mike WiLL Made-It

Released in December 2013, Future’s “Sh!t (Remix)” arrived just three months after Drake released the biggest album of his career, Nothing Was the Same. But rather than celebrating his recent coronation on his first post-NWTS verse, Drake warned the rest of hip-hop that his reign was just beginning. Over Mike WiLL Made-It’s thumping beat, he sounds hungry as ever, yet is well aware of his unchallenged place atop the rap game.

5. DJ Khaled — “I’m On One” ft. Drake, Lil Wayne & Rick Ross

Album: We the Best Forever (2011)Producer: T-Minus, Noah “40” Shebib, & Kromatik

Drake already had a flawless streak of guest spots (from “Money to Blow” and “Say Something” in 2009, to “Made Men” and “Right Above It” the following year), but never had he swiped a song out from under the headlining artist as effortlessly as he did on DJ Khaled’s summer anthem. When Drake wraps up his opening verse around the two-minute mark, the song is already his, completely.

4. Kanye West — “All of the Lights (Remix)” ft. Drake, Lil Wayne & Big Sean

Album: N/A (2011)Producer: Kanye West

In August 2010, an early version of “All of Lights” leaked, featuring Drake rapping over Kanye’s triumphant beat. Three months later, however, Drizzy was noticeably absent from the official version. In interviews, Drake stressed that he was okay with Kanye’s decision; his tone on the unofficial remix, however, argued otherwise. Released in March 2011, Drake’s verse on the “All of the Lights” remix serves as our introduction to the tough guy persona he’d tap into later that year on Take Care.

3. French Montana — “Pop That” ft. Drake, Rick Ross & Lil Wayne

Album: Excuse My French (2013)Producer: Lee On the Beats

Fresh off delivering two of the year’s best guest verses, on Rick Ross’ “Stay Schemin’” and 2 Chainz’s “No Lie,” Drake laid claim to summer 2012 on French Montana’s banger, “Pop That.” In hindsight, Drizzy’s scene-stealing verse is a perfect snapshot of where he was at in his life at that exact moment.

2. Migos — “Versace (Remix)” ft. Drake

Album: N/A (2013)Producer: Zaytoven

After owning the previous two summers on the strength of stellar guest spots (2011’s “I’m On One” and 2012’s “Pop That”), Drake did it again in 2013, with an earth-shattering guest verse on the remix to Migos’ then-bubbling hit, “Versace.” Six years on, it’s impossible to measure how impactful Drizzy’s verse was, considering it helped catapult the Atlanta trio to superstardom.

1. Rick Ross — “Stay Schemin’” ft. Drake & French Montana

Album: Rich Forever (2012)Producer: The Beat Bully

With no disrespect to DJ Khaled’s “I’m On One,” Drake’s guest verse on Rick Ross’ “Stay Schemin’” is the moment when he snatched the throne for good. By flaming rap vet Common in the opening bars, The Boy proved that he was about that action. If it’s not the best guest verse of his career, it’s surely the most important.

[jayhawksofficial]

Back Roads And Abandoned Motels essay (by Wesley Stace)

The Jayhawks – Back Roads And Abandoned Motels

by Wesley Stace (2018)

Attempts to pigeonhole The Jayhawks have long been fruitless, as any longtime fan or fellow musician knows. The band habitually transcends any label - Americana, Roots Rock, or Alt-Country: you name it - with great songs, musical adventure and sheer derring-do.

Back Roads and Abandoned Motels, the latest addition to the band's varied catalog, is both a case in point and the exception that proves the rule. The record serves only to emphasize the band's pedigree, when by rights it might have been something of a mongrel, given that it largely consists of songs written with (and for) other artists, here in versions recorded for the record by the band. Both title and backstory belie the canny conceptual unity of a record that Jayhawks fans, both more recent converts and those with longer memories, will love. You wouldn’t want to call it Hollywood Town Hall Part Two, but then again... perhaps you would.

There are presumably some listeners who wanted Los Lobos to keep making Will The Wolf Survive? (or, heaven knows, La Bamba) over and over again, for the rest of their careers. Perhaps there were even fans who thought the Beatles let themselves down with the experimental Peppers shit and shouldn’t have ventured beyond the day trippiness of Day Tripper. The Jayhawks’ more outre explorations have met with commercial and critical success - last year’s excellent Paging Mr Proust was proof that there was no intention to go gently into that good night - but there still doubtless remains the occasional Jayhawks fan who wishes they’d stop being clever and make a primarily acoustic country-rock classic again. It’s a rather tedious nostalgia, given the joy the Jayhawks always bring, not to mention the fact that the band has existed in its current line-up for 24 years since they originally parted ways with Mark Olson. The point being: the Jayhawks did those things already back then; they don’t need to keep doing them because we liked it a lot: that’s not how artists work.

But the amazing news about the new album is the unlikeliest news of all: that’s exactly what they’ve done, and in the strangest of ways. A saner man, or even a regular rock critic, might go so far as to call Back Roads and Abandoned Motels “a return to the more acoustic sound of Rainy Day Music,” but the fact is, whatever the reason, the record showcases the band we’ve always loved.

It’s all here: those sweet sweet harmonies, the devil-may-care roots rock, the effortless melodies you can’t believe you haven’t heard before (if you’re a listener) or were too lazy to write yourself (if you’re a songwriter), and those sinewy, beautiful constructed solos that make Gary Louris one of the most underrated guitarists in rock (and roll), and the Jayhawks one of the archetypal American bands. Since Paging Mr Proust, the band has in fact been staking its claim as the greatest backing band in the world, working with the likes of Sir Ray Davies, and the less-knighted but critically revered Wesley Stace AKA John Wesley Harding (and it would be a conflict of interest if I didn’t mention that I were he.) It’s always good to try on someone else’s clothes, see what fits. And that’s what’s happening on this record too.

Far from being, in terms of The Who, a record of odds ’n’ sods, the disparate origins of the songs on display have brought the band, road-tested and barely-rested, closer than ever. They sound totally relaxed and utterly confident in their ability to deliver the goods. They’ve never sounded better, and we’ve never heard a fairer division of labor among the members.

Of the songs on the new record, only two (the last two, Carry You To Safety and Leaving Detroit) were newly written. Others were written with, and for, other artists, bespoke and besung. Gary Louris is a great songwriter whatever the context, and here we find him confident enough to stand back, to share the lead vocals around his fellow singing members, just as those songs were always meant to be sung by others. (Only Marc Perlman, the secret weapon on bass, doesn’t get his own song. Next time, I hope.) All members are of equal value and status, like a band, but, like The Band, you don’t get to be this good without that being true. Here, in the words of Everybody Knows, they’re "stepping out" for the first time.

The harmonies have always been a wonder, an essential part of the Jayhawks experience, but here we get to appreciate their component parts individually. Thus it is that the album boldly goes where no Jayhawks album has gone before, kicking off with keyboard player Karen Grotberg’s first lead vocal. Come Cryin’ To Me was originally written for the Dixie Chicks, their first collaboration with Gary (though it only appeared on Natalie Maines’ solo album Mother), but it sounds like it was written specifically for Karen to sing on this particular record, and it’s a joy, as is her later lead vocal, El Dorado, and her harmonies throughout.

But if it’s Mr Louris you’ve come to hear - and it may well be! - he’s to the fore throughout and up next with another Dixie Chicks associated song that first appeared on their Taking The Long Way album in 2006, since often heard at Louris solo concerts. It’s a statement-of-purpose song, yet, given its co-written origins, the listener can’t necessarily be sure (and I’m too polite to ask) whose statement-of-purpose it actually is. Who’s stepping out? The Dixie Chicks or Mr Louris? Part of the joy of Back Roads and Abandoned Motels is the middle-place that these songs occupy, the universality of their lyrics - they’re kinda covers, they’re kinda not - which frees the band up to play them without self-consciousness, the reason that experimentation can be put to one side. There are some songs to deliver, and many of them have been previously delivered, so best just to allow them to sound as great as a great band possibly can. Which is pretty great. It’s that that makes the record such a familiar and beautiful Jayhawks experience, like those early records, yet played by the band as it is now, with all its know how and experience.

Tim O’Reagan (more commonly known as ‘the drummer’) has sung three or four memorable lead vocals on Jayhawks records previously, songs often played live (Tampa to Tulsa, for example, and Bottomless Cup) but his singing on the stellar Jakob Dylan co-write, Gonna Be A Darkness, makes the song an instant Jayhawks classic, better even than its original version (though it’s not a competition, obviously) which was recorded for the HBO series True Blood. I shan’t list all the songs, though there are co-writes with Carrie Rodriguez, Emerson Hart (from Tonic), Ari Hest, Kristen Hall and The Wild Feathers. None with me, however. Interesting.

In 2018, 34 years after they formed, and 24 years in their current line-up, The Jayhawks are still coming up with new ways to give us everything beautiful. Back Roads And Abandoned Motels is an unexpected and vital corner piece in their puzzle, and it fits together perfectly. May their songs always be sung.

[themusicenthusiast]

Saturday, February 11th, 2017 – Amaranthe Delivers a Compelling Performance as the Maximalism Tour Visits Dallas

All photos by Jordan Buford Photography Amaranthe rolled into Dallas this night, returning to the stage at Gas Monkey Bar & Grill after a little more than a year since their last visit to the city. This time around they had a new record in tow, the Swedish/Danish groups’ fourth album, Maximalism (out via Universal Music Oy), having been released about four months prior; and this was the second show of the U.S. leg of the Maximalism Tour. While baffling, the fact that the temperature had climbed into the eighties for the day made the weather perfect for an outdoor show at Gas Monkey Bar & Grill, patrons embracing it, many ditching the pants and jackets they would typically have needed to be wearing in favor of shorts and short sleeved shirts. Speaking of the patrons, the place was packed early on, Smash Into Pieces and Cypher 16 getting the night started off, a couple hundred pairs of eyes already on them, while the patio only continued to fill up. Citizen Zero rocked the stage hard, as did Failure Anthem, and by the time that main support act took the stage, it appeared to be a near capacity show, people struggling to find any remaining spots with a decent view as they readied themselves for Amaranthe. A few minutes after ten the stage lights dimmed, earning some deafening fanfare from the spectators as the bands’ intro piece created a sort of mystical vibe around the performance, the recorded voice that acted as a narrator of sorts introducing the “six grandmasters”. With that they stormed the stage, guitarist Olof Mörck and bassist Johan Andreassen settling into their spots on either side of the stage, while Morten Løwe Sørensen somewhat disappeared as he seated himself behind his massive drum kit. Elize Ryd (who at first waved around an American flag with the Amaranthe logo also on it), Henrik Englund Wilhemsson, and Chris Adam Hedman Sörbye, who, at least temporarily, is filling the recently vacated role as the clean male vocalist, spread out along the center as they ripped into “Maximize”. They would play half of the material from their new album this night, that lead track off it serving as an amazing opening song that instantly created an electrifying atmosphere, generating some light movement from some in front of the stage. The chorus ensured it felt like an anthem, as if Amaranthe was asking for every ounce of energy the spectators had in them, the three vocalists often thrashing around as the song came to a tight end.

There was no downtime before the subsequent cut from Maximalism, “Boomerang” having its moments where it was somewhat poppy, though it wasn’t without its grit, especially when Wilhemsson was belting out his lines in his deep guttural tone; and at one point he approached Mörck, placing his arm around the guitarist as he continued to scream. “Dallas, fucking, Texas! Get those hands in the air!” Wilhemsson ordered, adding that he wanted to see everyone there bouncing to their next number. They journeyed back to their self-titled debut record and pulled out “Hunger”, much to everyone’s delight, while “Invincible” built upon that power metal-esque style, sounding a little more symphonic and even operatic due to the striking notes Ryd was capable of hitting, digging deep and holding nothing back as she nailed them with ease.

Just a few songs in and it had already become apparent what a well-oiled machine Amaranthe was, every song thus far having been impeccably tight, both in regards to the execution of the songs and the performance in general, the six of them making the frequent changing of roles look effortless. There was never a moment it didn’t feel or look fluid, even with the focus often even shifting to Mörck, Andreassen, and Sørensen, as they reminded everyone what a superbly tight band they are. Amaranthe’s onslaught of grand songs continued with a highly polished “1.000.000 Lightyears”, after which they led the spectators in a chant of “HEY!” as “Trinity” got underway. Mörck continued to demonstrate his slick skills on the axe as he often flashed a smile at the onlookers, while Ryd continued to push her voice to new heights, seemingly getting ready for the few moments where she was put in charge. To an extent “True” was one such song, Wilhemsson and even Sörbye disappearing from sight at the end of that previous song, Ryd being at the helm until she finished her first verse. Sörbye strolled back on stage at that point, the two vocalists tapping into some potent chemistry during the highly emotional song. They held one another’s hand for a time as they paced around the stage, shifting their gaze from one another to the crowd during what was an awe-inspiring track.

Wilhemsson appeared to be itching to get back on stage, racing up there as Sörbye took leave and acting as the primary vocalist for “Fury”. The high-energy song had everyone’s adrenaline pumping, being heavier and thrash metal-esque at times as Wilhemsson delved in to what he was capable of as a vocalist, fiercely spitting out the words. Moments upon finishing that one and Ryd was the lone figure on stage, addressing the audience, asking how everybody was doing while mentioning how “amazing” it was to them to be back. “How many of you were here last time?” she asked, even pointing out a few familiar faces she remembered from their previous tour. “Thank you for coming. We appreciate it more than you know,” she told everyone as she smiled at them, being purely genuine. “Endlessly” was all her, Sørensen, Andreassen, and Mörck not returning until about the halfway point, and it was a true masterpiece that had Ryd mustering every ounce of emotion she could as she demonstrated how versatile she is as a singer, delivering a ravishing performance vocally.

“We love you guys! Thank you so much!” she said as her fellow singers returned to the stage, ready to pick things back up. “On the Rocks” did just that, another intriguing new song that is a hybrid of genres, having a certain pop flare, but also blending various styles of metal and rock. Catchy and fun, it easily earned the audiences’ complete attention, Sørensen taking over at the end as he transitioned it into a drum solo, hamming out some sonorous beats, particularly on his double kick drum, for a powerful solo that lasted just the right amount of time to allow people to marvel at his chops. This 56-minute long set was closed down by a series of favorites beloved by the fans, from the soaring “Automatic” to the exhilarating “The Nexus”, Amaranthe guaranteed they would end this show in a fashion that would appease everyone there. That became even more true when they pulled out “Amaranthine”, making the classic into a sing along by holding their microphones out to the crowd, encouraging them to chime in. Wilhemsson, Ryd, and Sörbye took a bow, making it appear as if that was it, however, once the fanfare subsided, Sörbye asked the onlookers if they had any more energy in them. “I want to see everyone out here jump,” he asked after learning everyone was still eager for more. Fans were happy to oblige, jumping and fully immersing themselves in the experience that “Call Out My Name” offered as it brought their set to a stellar finish.

It didn’t take long for fans to start shouting for one more song, or getting more specific with, “Play ‘That Song’!”. After a couple minutes Andreassen reappeared, sans bass as he proceeded to converse with everyone while mixing a bit of standup in with it. “This guy tried to tell me ‘you’re fucking awesome’,” he said, pointing out one of the spectators. “You don’t have to tell me, I know,” he quipped. He also took a moment to address any potential critics, saying he (and the band in general) could care less how anyone wanted to label them, some having complained that Amaranthe wasn’t “staying true” to metal. “…We just play good music… we’ve always been a music band…” he said unapologetically, proud to be doing what they do and evolving in the way that feels right to them. He finished on a high note, first cracking there would be no bass solo (after a fan asked him for one), Andreassen’s reason being because this wasn’t a jazz show, before conducting the noise level by raising his finger into the air, the fans cheering before being silenced as he lowered his arm. That fun with the crowd carried on for a few moments, him quickly pointing to the air and just as abruptly putting his hand down, the fans keeping pace as they shouted along before letting their voices fall to a murmur.

With that, the rest of the band returned for their final 15-minutes, the encore encompassing four songs beginning with the fist-pumping anthem that was “Digital World”, the song turning into a clap-along at one point. With some thunderous drumbeats, Sørensen launched them in to one of the most anticipated songs of the night, “That Song”. It didn’t take any time for that new song to become a massive hit, the audience treating it as if it were the greatest of the night, rocking out to the pulsating rhythm section that ensures it’s such an infectious number. “Dynamite” expanded on the already high energy level they had built back up, being absolutely explosive, especially with the incendiary guitar riffs, and they still had a little left in the tank. With another expression of gratitude to everyone for coming out to see them, Ryd stressing they wouldn’t be able to get back soon enough, they got ready for their last song by welcoming Batman to the stage. Someone in attendance had come to the show in a legit looking Batman costume (from the Batman Begins era films), and after pointing him out earlier in the show, they wanted that guy up there to help them end the night.

It made the subsequent song off 2014’s Massive Addictive, “Drop Dead Cynical”, all the more entertaining, as Ryd occasionally acted as she were fighting with him, even letting him pick her up, lying in his arms as she sang. He somewhat danced around as she and Wilhemsson thrashed their heads about, their hair spinning around in the air; Mörck ultimately handing his guitar off to Batman in the final moments of the show that had been nothing short of epic. “If we come back, will you bring everyone you know? I mean EVERYONE,” Sörbye asked as they said their goodbyes, already creating some anticipation for the next show, whenever that may be, and that it could have the potential to be Amaranthe’s biggest Dallas show ever. For the time being, this one surely went down as their most fun Dallas show yet. By all accounts, Amaranthe’s set list didn’t leave a single soul disappointed, focusing on much of the best that Maximalism has to offer while also hitting everything fans were desperate to hear, seemingly leaving everyone completely satisfied by their set. However, it went well beyond just the song selection that made this such an engrossing performance. From the moment the members of Amaranthe stepped on stage, they had a compelling and authoritative demeanor that made you focus intently on them. They even went one step further by creating a spellbinding rapport with everyone in attendance, making them feel like they were part of something much more than just a concert. Probably because the band made it feel like it was something more meaningful than that, as if it were more about making a true connection and spreading a message through music. Then there was their clear appreciation of everyone for choosing to spend their time at the show and that support made them even more eager to put everything they had into the performance, and what a dazzling display it was. Their records do a remarkable job of capturing their more unique dynamics and showcasing the three vocal styles extremely well, however, it pales in comparison to what you get in the live environment. It was in this setting where one was able to admire all of the nuances and the true complexity of Amaranthe’s music, a great amount of precision going into it to get everything right, particularly in regards to the vocals. Granted, that’s true of any band, though it was exemplified in this case. With three lead vocalists constantly alternating between who was in charge or harmonizing and even layering their voices atop one another, the work was noticeable though they made it appear effortless. That speaks to their chops as musicians, and along with all the years of touring it has become more like second nature to them. And so what if Amaranthe has taken a different path with their music? Bands have the right to evolve and change their style as they progress. Besides, it’s not like they were ever a pure metal band. They’ve integrated various different subgenres of metal from the start, creating their own style that works best for them; and while they may have incorporated a few other genres into their latest work, there was certainly no qualms from their Dallas fans as to how it sounded. It was excellent music that made you feel something and gave you a rush, and that was all that mattered. Amaranthe’s current U.S. tour will run through March 11th, concluding in Reading, PA at Reverb. Other shows along the way include February 14th at The Marquee in Tempe, AZ; The Knitting Factory in Spokane, WA on February 23rd along with the one in Boise, ID on the 24th; Home Bar in Arlington Heights, IL on March 2nd; and The Marlin Room at Webster Hall in New York, NY on March 8th. Visit their WEBSITE for a complete list of their upcoming shows; and be sure to check out Maximalism in iTUNES or GOOGLE PLAY.

[lifesgreatestfool]

Top 5 Albums of 2016 - E

5. Danny Brown: Atrocity Exhibition

Danny Brown earns a well-deserved spot in my top 5 albums of the year with his third and best release to date. Danny’s over-the-top, psychotic persona is sometimes difficult for me to digest or even appreciate, but it fits a little too perfectly in this context. For this project, Danny doesn’t hide the ball regarding the album’s mood. Rather, he quickly sets it with the opener Downward Spiral. Danny’s staple delivery accompanies a whirlwind of cacophonous and downright disturbing instrumentation, which doesn’t let up as much as it does mutate to fit the intended feel of each forthcoming track. Whether it be the infectiously catchy Really Doe featuring Kendrick Lamar, unrelenting bangers like Dance in the Water and Ain’t it Funny, or the hazy and enjoyable Get Hi, Atrocity Exhibition successfully manages to plunge its listener into the hellish depths of Danny’s apparently dark and drug-riddled world, with no promise of letting up until the close. 

4. Bon Iver: 22, A Million

Since its release, countless criticisms across the internet have been lobbed at 22, A Million, Justin Vernon’s third full-length album as Bon Iver. Yet, with each listen, the album effortlessly disproves the validity of such criticisms for me. Some dissenters focus on what they deem to be nonsensical song titles, overly complex cover art, a supposed lack of cohesion, or distracting experimentation. In my opinion, these are all critiques that are either unimportant of untrue. I’ll take ridiculous song titles and borderline pretentious cover art all day if the accompanying music is up to snuff. And in this case, I’m thrilled that it certainly is. 

With two stellar full-length albums already under Bon Iver’s belt, and an excruciating gap of silence thereafter, it was always going to be difficult for 22, A Million to live up to my expectations. While it may not have floored me to the extent that For Emma and Bon Iver did, this album has solidified itself as a more-than-worthy third act. For me, this collection of tracks represents an intuitive next step in Bon Iver’s artistic development. The exceptional songwriting is still there, often wonderfully complimented by sonic experimentation and vocal manipulation. 29 Strafford Apts rivals the beauty of Bon Iver’s best past-efforts, and is firmly one of my favorite songs of the 2016. Creeks is a pure emotional powerhouse (”GOD DAMN TURN AROUND” - so good). 22 (Over Soon) serves perfectly as the album’s stunningly unique opener, and 00000 Million closes the album out on a more straightforward but gorgeous note. 

Justin Vernon is still yet to let me down. 

3. David Bowie: Blackstar

There is no way to avoid the glaringly morbid appeal of Bowie’s final artistic offering. It is an appeal that is inextricably and likely intentionally linked with the album. Independent of Bowie’s death, the opening title-track is perhaps the most haunting piece of music I have heard in recent memory. Pair that with what has occurred since its recording, and the track takes on an emotional and psychological weight that is difficult to come by elsewhere. This absurd, almost divine quality intensifies with the track Lazarus, with which Bowie has essentially managed to bridge an otherwise impenetrable spiritual boundary between life and death. I’m not one to believe in lofty spiritual concepts, but leave it to David Bowie to make me second guess a belief of such magnitude. 

Tracks like Girl Loves Me, Dollar Days, and I Can’t Give Everything Away further solidly this album as a triumph. I must admit that one or two tracks feel a bit weaker and slightly out of place within this already concise album. However, Blackstar’s many high points are nothing short of transcendent. Now, we are left to stare at the cover art above. A black outline where an artistic star of unprecedented brightness once stood for decades. 

2. Frank Ocean: Blonde

Blonde is just so undeniably good. Frank Ocean’s long awaited sophomore LP is actually my first love affair with the man’s music. Admittedly, I never fully boarded the Channel Orange train and, to this day, I’m not all that familiar with the record. But, unlike Channel Orange, Blonde kept calling me back. Even from my first listen, I liked Blonde, but I didn’t think it would become one of favorite albums of the year. Yet, I listened again, and again, and the full potential of this album gradually but magnificently bloomed before my ears. Now that the year is over, I would estimate that this was my most listened to album of 2016. 

I don’t really feel the need to pick out and discuss particular tracks here, because I pretty much love them all. Mentioning some but not others would be a disservice. The consistently disarming melodies, dreamy and tender soundscapes, poignant lyrics, and occasionally jarring yet tasteful vocal experimentation all come together to form a cohesive, wildly successful record. 

1. Car Seat Headrest: Teens of Denial

On the surface, Teens of Denial doesn’t seem like it should be my album of the year. It’s a 70-minute onslaught of Will Toledo’s sarcastic, often monotone rambling accompanied by somewhat standard indie rock instrumentation. Yet, this album is everything that indie music fans needed at this point in time. 

First off, my above-mentioned summary of the album is not at all a fair representation of what Toledo has managed to accomplish with this record. The songs are smart, dynamic, funny, and sometimes complex. There are countless on-point guitar riffs, melodies, and passionate vocal explosions from Toledo that, dare I say, capture a level of earnestness comparable to that of Win Butler on Funeral.  The album’s opener, Fill in the Blank, has Toledo expressing his distaste with, well, _________ (everything). It’s a fiery tune that sets the tone for the rest to come. 

The song Vincent offers an excellent and challenging listen, with a long-winded, hypnotic instrumental intro and an overall dense song structure. Destroyed by Hippie Powers is insanely catchy, funny (the song title alone), and emotionally crushing (”WHAT HAPPENED TO THAT CHUBBY LITTLE KID/who smiled too much and loved the Beach Boys?). 

The accessibility of Fill in the Blank returns with Drunk Drivers/Killer Whales, an excellent lead single and mid-album sing-along relief. 1937 State Park lays on more devastating lyricism, recounting a run in with the cops and Toledo’s resolve to remain stoic throughout (”I didn’t want you to hear that shake in my voice/My pain is my own”). The picture painted is almost too vivid. 

Teens of Denial secures my number one spot with the absolutely stunning Ballad of Costa Concordia. This astounding tune meanders lyrically and musically throughout. It gradually ascends to a crushing mid-song climax, throughout which Toledo rattles off a a seemingly endless list of insecurities and admitted adulthood failures (”How was I supposed to know how to make dinner for myself? How was I supposed to steer this ship?). The song’s end brings no relief from this crisis as Toledo shouts into oblivion “I GIVE UP!” 

Rarely does an artist put as much on the table as Toledo does here. It’s all out there, delightfully swirling around in this captivating shit-show of a record.