#West Coast hip-hop vibes

[trapangeles]

A Historic Gathering: Tspokes and Friends Cypher Unites West Coast's Female Rap Powerhouses

In the world of West Coast hip-hop, there are moments that become etched in history, celebrated for their artistry, unity, and pure talent. Such moments aren't just ordinary; they are legendary, and the recent Tspokes and Friends Cypher is destined to be one of them.

Picture this: Tspokes, LA Wray, Key’ijah, and NIY Sims, four powerhouse female rap artists hailing from the vibrant hip-hop scene of the West Coast, coming together for an epic collaboration that set the music world ablaze. 🔥🔥🔥

A Uniting Force of Creativity

Tspokes, known for her lyrical prowess and signature style, brought together a group of friends, each a luminary in their own right. LA Wray, with her captivating flow and thought-provoking lyrics. Key’ijah, the wordsmith with a unique perspective. NIY Sims, the dynamic artist who never fails to deliver a memorable verse. Each of them is a star in their own universe, and together, they form a constellation of talent.

The Cypher: A Showcase of Excellence

The cypher, an essential element of hip-hop culture, is a platform where artists come together to show their lyrical skills, creativity, and passion. In this Tspokes and Friends Cypher, these remarkable female artists did just that and more. Their verses were not mere words; they were stories, experiences, and aspirations, all intertwined in the fabric of their music.

Their collaboration wasn't just an assortment of verses; it was a conversation, a dialogue, an exchange of ideas, and a celebration of life on the West Coast. In each rhyme, they painted pictures of the streets, the people, and the dreams that breathe life into this genre of music.

Unforgettable Vibes

The essence of this cypher can be encapsulated in one word: unforgettable. As they traded verses, the energy in the room crackled with creativity. The beats provided the canvas, and these artists painted vivid portraits of their world. The vibe was electric, and anyone who witnessed it felt the raw intensity of West Coast hip-hop at its finest.

The Legacy Continues

In a genre known for its rich history and legacy, the Tspokes and Friends Cypher adds another chapter. It's a reminder that hip-hop isn't just music; it's a cultural force that brings communities together, celebrates diversity, and creates legends. This cypher wasn't just a gathering of friends; it was a declaration that West Coast hip-hop is very much alive and thriving, led by these incredible female artists.

As we look ahead, the impact of this collaboration resonates beyond the lyrics and beats. It's a testament to the enduring power of hip-hop, a genre that continues to shape culture, drive change, and provide a stage for artists to tell their stories. The Tspokes and Friends Cypher is not just a moment in time; it's part of a legacy that keeps evolving, keeps growing, and keeps inspiring. 🔥🔥🔥

For those fortunate enough to witness this epic union, they'll carry the unforgettable vibes with them, a reminder that when the West Coast's female rap powerhouses come together, magic happens.

Have you been spending all your money and time on making music and shooting videos, but still not getting any exposure? Tired of just spinning your wheels? You know to get exposure you need to get featured on blogs, radio stations, playlist, and get your music e-mail blasted out to the masses. Need help getting all that done? Then check out the Package we’ve made available for you below!

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[djevilninja]

Now this legendary shit is brought to you by The D-O-double-G, twenty years of luxury. 20 Crippin', fuck with me, east side hustler, Plus a cold motherfucker, you can't get enough of me.

Snoop Dogg feat HeyDeon - Catch a Vibe

[lasvegastrillgod]

Wasn’t going to release anymore tracks from the vault but I really like how ICED OUT turned out. So it’s on Bandcamp and SoundCloud. Hits Spotify in a few days. Enjoy🤘🏾

[naylasavannah]

Safe Space

Song Lyrics

by NaylaSavannah.com

[ethan---ng]

Snoop Dogg on the cover of Vibe Magazine (1993)

[savage-kult-of-gorthaur]

"PAUL'S BOUTIQUE" SESSIONS -- FRESH FOR '88, YOU SUCKAS!

PIC(S) INFO: Spotlight on the BEASTIE BOYS photographed by the late, great Ricky Powell (1961-2021), c. 1988, Los Angeles, CA. All shots by Ricky Powell (✝).

Rock in Peace, Adam "MCA" Yauch and Ricky Powell, the "Fourth Beastie Boy."

Source: www.thedailybeast.com/the-beastie-boys-like-youve-never-seen-them-before.

[filthyneverdie]

NAMO - She Has Arisen | CHROMOSOME CRISIS

[marshleb]

Moving forwards and not looking back 🫶🏾

[djevilninja]

Look inside of my soul and you can find gold and maybe get rich; Look inside of your soul and you can find out it never exist. I can feel the changes, I can feel a new life, I always Knew life can be dangerous, I can say that I like a challenge. And you tell me it's painless, you don't know what pain is; How can I paint this picture when the color blind is hangin' witcha?

Kendrick Lamar - Bitch, Don’t Kill My Vibe

[yuurivoice]

I remember a while ago, you answered an ask about Kendrick, something casual n stuff. I was wondering if there were any other rappers you enjoy, or rap/hip-hop songs in general?

Oh...oh buddy.

Yeah, so where do I even get started?

My introduction to hip hop and r&b was thanks to the pop radio station in Nashville (rip 102.5 THE PARTY) back in the late 90's and early 2000s. I have vivid memories of their Friday night DJ who would broadcast from a live venue simultaneously and there were standouts like Missy Elliott, Ludacris, Destiny's Child, Nelly, Usher...I'm forgetting tons of folks but you know the vibe. Then my Brazilian step bros helped get me locked in even more.

In my teens, growing up in the South it was Three Six Mafia, Lil Wayne, Jeezy. Goddamn a lot of Jeezy in my circle of friends lol

Eventually I was left to my own devices and found my own taste. Which is...? Eclectic because I find a song or artist I like and listen to them until I burn out and forget I ever liked them. 🥲

Really enjoy Weeknd, Kendrick, Cole (in the dog house currently bc what are those phobic ass cancel me bars?), Meg, JID, Run the Jewels, uhhhhhhhh...I am forgetting so many people. I only recently got Spotify and started trying to build playlists, so I've gotta go rummaging around my brain for all the music I've forgotten I liked over the years.

I got to travel a lot when I was younger, and had the added bonus of immediate non-white family in my life so I had significantly more exposure to diverse taste than if my old man and mom were the only ones influencing me. So I got to experience West coast vibes, and various regions of the South while primarily getting my music from what was hot on the radio at the time. Plus that was peakkkk MTV pop culture era, Cribs was my shit.

This also means that inevitably I really fucked with nu metal. I unironically think the only thing I crush at karaoke is Limp Bizkit. 🥲 Keep rollin I guess.

This is my brief intro to YuuriVoice's interest in hip hop. Thank you for asking! 🙏

[trapangeles]

Father T: A West Coast Fusion of Woke Trap and Storytelling

Emerging from the heart of the West Coast, Father T is carving a lane all his own. With a unique blend of storytelling, classic L.A. beats, and trap influences from the Bay and down South, his music isn’t just something you hear—it’s something you feel. The artist describes his style as “West Coast woke trap,” a fusion of sounds and vibes that both entertains and educates.

“I started rapping in middle school and recording with my bro in high school,” Father T shared about his beginnings. His journey into music was natural, inspired by a love for the craft and the stories he could tell.

Behind the Name: Father T

Father T’s name is as bold and unapologetic as the artist himself. “The name came from knocking down niggas’ mamas and aunties—older broads, you know,” he laughed. While the origin of his name is playful, his approach to music is anything but casual. “What makes me stand out as an artist is the meaning in my music. Every song is meant to teach a lesson in a unique way.”

The Inspiration Behind Chappelle

Father T’s latest track, Chappelle, is a playful, yet poignant piece inspired by legendary comedian Dave Chappelle. “The title came from the way Dave says ‘bitch.’ I was trying to channel that same energy,” he explained. The song balances a mix of humor and self-reflection, embodying what Father T describes as a “60 percent playful, 40 percent serious vibe.”

The message of the track is clear: “Don’t let anyone tell you what you can or can’t do in life—unless you let them. At this point in my life, I refuse to let anybody tell me anything. I’m stepping on necks, that’s it, and that’s all.”

The creation process for Chappelle was as organic as it gets. “I listened to the beat, and it just came together. My bro JWatts made the beat, and I rapped on it. I don’t write my lyrics—it’s all off the dome,” Father T shared.

Visuals and Storytelling

For Father T, visuals are a critical component of his artistry. “I’m currently working on an animated cartoon with a ‘Bebe’s Kids’ vibe to preview the song,” he revealed. “The visuals tie into the track’s playful yet serious vibe, creating an upbeat energy that mirrors the music.”

Despite his focus on visuals, Father T admits that storytelling through words comes more naturally to him. “For some reason, it’s less difficult for me to paint a picture with words than with an actual physical picture,” he said.

Laughing at Life, Clowning the Haters

With Chappelle, Father T reflects on his life in a way that’s equal parts humorous and empowering. “The track is me laughing at my life and clowning people who think I care what they think,” he said. The song serves as a reminder for listeners to embrace their truth and tune out the noise.

“Music is therapy for me,” he added. “Every track I make has a unique theme based on my life in some way.”

The feedback for Chappelle has been overwhelmingly positive. “So far, I’ve performed it at a couple of open mic nights and posted it on social media. People are really vibing with it,” Father T shared.

The Journey Ahead

Chappelle marks a turning point in Father T’s career. “This song is me finally taking rap seriously, seeing myself as an artist—not just a nigga who raps good,” he said. With a strategic approach to releasing his music, Father T is gearing up for more drops in the near future. “I have a lot more songs and visuals on the way. I’ve just been organizing them so I can release them strategically.”

For Father T, the goal is simple: inspire listeners to live their truth. “Hopefully, my music motivates people to not give a fuck about anyone’s opinion but their own,” he said. “Never give up. Love yourself and don’t try to be anyone else but you.”

“It’s a fire-ass West Coast song for you to vibe out, feel yourself, and laugh at these haters too,” Father T concluded.

Have you been spending all your money and time on making music and shooting videos, but still not getting any exposure? Tired of just spinning your wheels? You know to get exposure you need to get featured on blogs, radio stations, playlist, and get your music e-mail blasted out to the masses. Need help getting all that done? Then check out the Package we’ve made available for you below!

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[yes-these-obsessions-are-healthy]

Because I can’t leave well enough alone or stop obsessing over the music scene in Zaun, I have a few headcanons as to the soundscape of the city.

1. Zaun and Piltover operate in a quasi-Steam/cyberpunk and steam “utopian” punk environments, respectively. For Zaun especially it operates like something sewn together with late 19th century industrial slums (NYC, London) mixed with Blade Runner vibes. Pop, alternative rock, industrial, hip-hop and rap, but also punk, exist.

2. Personally, personally, and with some cues from @lullabyes22-blog fic Forward, Never Forget, I imagine the musical landscape of Zaun changed dramatically within 40 years (roughly the lifetime of Vander and Silco). 200 years ago, Zaun’s primary music genres were folk, vaudeville, work songs, shanties, and novelty songs. Economic stranglehold by Piltover ensured that “high minded” and “perfected” genres we associate with the wealthy, operas, ballets, and the like were difficult or even inaccessible for Zaunites to compose for, but obviously commonplace in Piltover as representative of their cultural DNA. The influx of refugees into Zaun from the Rune Wars, the subsequent squeeze, impoverishment, and exploitation in slum city living, also coincided with the flowering of many spirited genres of music: swing, jazz, blues, and respective dances deemed far too scandalous and libertine for Piltover.

So as I said, in order for it to make sense why a city seems to be comprised of Edwardians standing next to literal punks, steam and otherwise, we need to internalize the miraculous phenomenon that within Silco and Vander’s lifetime, a century’s worth of musical development (1910s - 2020) occurred within Zaun. Somehow, some way, rock, metal, pop, hip-hop, rap, club, funk, dance, industrial, punk, etc. developed and flourished like kudzu. Essentially: If old white people in our real world were ever on record saying this-and-this music was corrupting the youth, then it was in Zaun. If it challenged authority or made you wanna shake and bop up and down or grind, it was music from Zaun.

3. So this means Silco and Vander would’ve borne witness to the music scene go from Puttin’ on the Ritz and Lindy Hop and If I Had a Hammer to You Really Got Me (The Kinks) and War Pigs (Black Sabbath) to Sex Pistols to Sylvester and Sly & the Family Stone to You Spin Me (Right Round) and Depeche Mode and The Clash and Public Enemy to Wu Tang Clan and Smells Like Teen Spirit and Rage Against the Machine and Selena and West Coast-East Coast rap divergence to RECESSION CLUB/POP, fucking IMAGINE FUCKING DRAGONS and wispy atmospheric female artist pop and DUBSTEP.

Literally this creaky-looking Peaky Blinders/Scarface sharkrat man would have to have grown up from going as a child listening to jazz to being in his early 40s and hearing Imagine fucking Dragons on the wind in the public square for some reason and Pusha T doing his thing. Do you understand what I’m saying how crazy that is.

It’s crazy to think about. Usually music genres fall to the wayside as developments are made and genres evolve out of them and into others, but Zaun exists in a world where the past is the present. Everything is alive and sustained all at once, like undying undergrowth, the coexistence of subculture. Little by little, the Old Guard may shift a bit, but the fashion and sensibilities and tastes will never completely die out, no matter how much further Zaun progresses within its bubbling urban cauldron of rust-and-reuse.

[lasvegastrillgod]

Throwback to the video shoot for Brackenridge RIP . I truly miss rapping in a casket.

[justforbooks]

Calvin Cordozar Broadus Jr. (born October 20, 1971), also known by his stage name Snoop Dogg (previously Snoop Doggy Dogg), is an American rapper, singer, songwriter, record producer, media personality, and actor. His initial fame dates back to 1992 following his guest appearance on Dr. Dre's debut solo single, "Deep Cover", and later on Dre's debut album, The Chronic that same year. Broadus has since sold over 23 million albums in the United States, and 35 million albums worldwide. His accolades include an American Music Award, a Primetime Emmy Award, and 17 Grammy Award nominations.

Produced entirely by Dr. Dre, Broadus's debut studio album, Doggystyle (1993) was released by Death Row Records and debuted atop the Billboard 200. Selling 800,000 copies in its first week, the album received quadruple platinum certification by the Recording Industry Association of America (RIAA) the following year and spawned the Billboard Hot 100-top ten singles "What's My Name?" and "Gin and Juice". He was the lead performer on Death Row's soundtrack album for the 1994 short film Murder Was the Case, wherein Broadus made his acting debut. His second album, Tha Doggfather (1996), likewise debuted atop the chart and received double platinum certification.

In 1998, he parted ways with Death Row in favor of Master P's No Limit Records, through which he saw largely continued success with his albums Da Game Is to Be Sold, Not to Be Told (1998), No Limit Top Dogg (1999), and Tha Last Meal (2000). He then signed with Priority, Capitol, and EMI Records to release his sixth album Paid tha Cost to Be da Boss (2002), which was further commercially oriented. This effectively continued upon him signing with Geffen Records to release his next three albums: R&G (Rhythm & Gangsta): The Masterpiece (2004), Tha Blue Carpet Treatment (2006), and Ego Trippin' (2008); the former spawned the single "Drop It Like It's Hot" (featuring Pharrell), which became his first to peak atop the Billboard Hot 100. He then returned to Priority and Capitol—upon his hiring as chairman of the former label—to release his tenth and eleventh albums, Malice 'n Wonderland (2009) and Doggumentary (2011), both of which saw mild critical and commercial response.

During this time, Broadus starred in films and hosted several television shows, including Doggy Fizzle Televizzle, Snoop Dogg's Father Hood, and Dogg After Dark. In 2012, following a trip to Jamaica, Snoop converted to Rastafari and adopted the alias Snoop Lion, under which he released a reggae album, Reincarnated (2013), and a namesake documentary film about his Jamaican experience.

His thirteenth studio album, Bush (2015), was produced entirely by frequent collaborator Pharrell, while his fourteenth studio album, Coolaid (2016), was released the same year as his induction into the celebrity wing of the WWE Hall of Fame. In 2018, Broadus became "a born-again Christian" and released his first gospel album, Bible of Love in March of that year. In November of that year, Broadus was given a star on the Hollywood Walk of Fame. In 2022, Broadus acquired Death Row Records from MNRK Music Group (formerly known as eOne Music), and released his nineteenth studio album, BODR (2022)—preceded by the independently-released I Wanna Thank Me (2019) and From tha Streets 2 tha Suites (2021).

The Washington Post, Billboard, and NME have called him a "West Coast icon"; and Press-Telegram, "an icon of gangsta rap". In 2006, Vibe magazine called him "The King of the West Coast". ABC News journalist Paul Donoughue, cited him among the 1990s acts that took hip-hop into the pop music charts. Broadus received the BMI Icon Award in 2011. In 2023, he was inducted into the Songwriters Hall of Fame.

Broadus popularized the use of -izzle speak particularly in the pop and hip-hop music industry. A type of infix, it first found popularity when used by Frankie Smith in his 1981 hit song "Double Dutch Bus". The Guardian's Rob Fitzpatrick has credited his album Doggystyle for proving that rappers "could reinvent themselves", expanding rap's vocabulary, changing hip-hop fashions, and helping introduce a hip-hop genre called G-funk to a new generation. The album has been cited as an influence by rapper Kendrick Lamar, while fellow rappers ScHoolboy Q and Maxo Kream have also cited him as an influence.

Daily inspiration. Discover more photos at Just for Books…?

[writingmochi]

an honest review of golden hour part 1 purely from musical observation (not proofread because i'll post the proofread on rym)

opening remarks: i'm gonna be honest here: i didn't keep up much with the early promotional aspect such as teasers, etc cause i was overwhelmed with ateez. not that i don't like them, but more in worry, like, what do you mean they have this plan before coachella and are going on tour after this promotional cycle ends? that level of constant promotional cycle is the thing that makes me sick of kpop nowadays: no rest time. and that is much more prevalent now with 4th gen groups now is ever so closely closer to the end of their contracts.

also, the fact that this comeback is the one that succeeded the world era with its fantastical science fiction concept that is very heavy makes this more like a whiplash. it seems rushed in a way? especially in regards to concept photos cause i know ateez has songs in their vault. but the art direction here is so much different than the transition between fever to the world. it seems like their trying to chase the coachella train by releasing an ep after it, to get the momentum of the people who are interested in them. maybe it's gonna be a one-off like the halazia ep but let's learn from the musical aspect cause i think they've spoiled that at the end of crazy form.

let's get to it!

1.golden hour: maddox comes back to narrate such an enchanting intro. in a way, this narration kind of portray the ateez journey from their start until now. how they basically started as an unknown group from (what i consider) an independent kpop label with only the support of block b at that time, to now where they are performing the biggest stages in the world. maybe we are experiencing ateez's golden hour, or golden month, or golden year. but definitely, it is a golden era of ateez as they share it with the world

2.blind: not me thinking of enhypen's blind because i always hear it when watching en-o'clock lmao i'll continue

nahh this is different then what i was expecting. i think it's the same type of beat i usually hear in western latin pop, maybe it is more latin pop, especially with that refrain after the chorus. this also reminds me of world cup songs like think the 2010 and 2014 one. it is also being supported by the amount of spanish used in this song. ateez has been embracing the spanish language a lot recently, like with arriba in their last album and their performance where they drink a shot on the coachella stage. i think it is because they know that they have many latin/iberian fans that they decide to embrace it with their songs.

i didn't expect their voices to match this style of genre, especially jongho cause he is so distinct. san's timbre voice sounds so good alongside yunho and seonghwa, especially since they try to use their lower range. mingi sounds like he is having fun here like i have a grin growing when i hear his rap. the party outro though. i think they have been embracing this a lot since it used to be such a yg style, but ateez embraced it and made it their own. i just know that this'll be a club banger with that percussion and bass.

3.work: it's so ironic knowing what i felt about them being OVERWORKED and then them making a song about making money by working D: D: D:

okay, ngl, i'm glad that i've been listening to a lot of hip-hop recently, especially west coast hip-hop like kendrick lamar (because of beef gate 2024 tho fuck drake), so, i get what they're trying. this has such a heavy west coast hip-hop vibe like think dj mustard beats. it's definitely another club banger cause the beat is catchy. i haven't watched their performance but i can already imagine the amount of street-style dance on it (if it's not that, then that is such a shame). that outro has the same latin pop influence of the blind. it's catchy, it's bouncy (cheonyang gochu vibe), and it's funny in a way that it makes we want to have fun (like the rolling rrrrrrr adlib).

hongjoong is such a highlight here. like he's definitely having fun in his rap part. also yeosang being the transition between the pre-chorus with his harmonizing? chef's kiss. gosh, do you know those lowrider car shows? this song could be a background for that. also, i like the contrast in the bridge with the plucked bass. and i think this is like the most complete under 3-minute song i've heard in a while. intro? two choruses? a bridge? and an outro? all check. as much as i prefer songs over 3-minutes, this is how you make a song under 3-minute to sound complete @ kpop composers

4.empty box: wow i think this is the first time i hear a bedroom type of beat coming from ateez, that is usually very bombastic or dramatic.

the subdued guitar riff reminds me of those indie lo-fi pop songs, but the trap beat under it creates a contrast. the boys sing with more subdued voice as well before i'm being startled by hongjoong's jump in voice volume. the difference at the outro of the song makes it end in a hopeful way with the choir type of singing there, creating this image that that's okay to have an empty box aka leaving your memories behind? (based on the lyrics) because you can fill it in the future too. such a hopeful rare, low-beat type of song from ateez

5.shaboom: i just know this one is bombastically skadoosh (wtf does that even mean lol)

wait, this is reggae. ateez is doing reggae. but, what the fuck is that plot twist? why is the chorus in edm? i love the "shaboom" san is doing in the chorus ("shabooooooom~"). but like the whiplash is real. from the reggae sound in the verses to the edm sound in the rest. i also just realized that they modulate the keys between the verse and chorus cause the vibe is very different, like a freaking day and night. this is such a whiplash concept but i guess this like a floridian type of sound lol while blind is more californian (hey, i'm not sorry for stereotyping ateez song into us state because, like, i can imagine people in miami hype up to this)

also the last chorus will eq take out and the outro that sounds so out of the beat we have heard but then it ends so abruptly before i even adapted to the sound. it's fun but i'm confused? help

6.siren: what in the haunted house song is this? the dissonance intro with the strings makes it so creepy

but then it resolves into a more breakbeat in a way with that addictive percussion melody at the back right there. the synth gets louder like a blaring siren in the chorus as the percussion melody pierces the blaring silent like a light in the dark haunted house. the drum breakbeat during mingi's part is clean and i also enjoy how we started the chorus in such a lower timbre before the higher timbre kicks in, like a siren. the pre-chorus sounds haunting alongside the intro, reminding you that even if you're bopping to the song, it still is creepy. the bridge gets rid of the synth that we now realize is actually our anchor to the song before bringing back in the last post-chorus. the bridge also doubles down with the creepiness factor by making them sing so dissonantly. though the outro part is good, i still think that it is pretty abrupt. maybe adding another 4 bar will make it more complete.

closing remarks: i can now finally imagine of the concept of the album based on the music alone: golden hour part 1 wants this to be ateez's introduction to their new era like the coming of summer. hence, the reason why all of the songs have the same overall concept: summer. blind comes in with a more latin pop approach while work is more West Coast hip hop. empty box is more bedroom pop to shaboom aka the reggae-edm hybrid and siren, the summer night festival vibe there. in a way, it is also portraying what ateez has experienced in the us so far with coachella. it creates a pretty broad amount of genre that can encompass summer, but it is also the reason why the album is not cohesive, especially with the inclusion of an empty box which imo is in the wrong place on the tracklist because of the contrast between golden hour and blind is also too jarring. if they can create a much better track sequencing, i think it can make the listening experience better.

my suggested tracklist sequence without getting rid of a track:

golden hour

work

shaboom

siren

blind

empty box (last song cause it talks about leaving memories, a better closer than siren)

i can also finally understand why the concept photos are so mid because, in a way, i think that they don't want to appropriate culture, especially since the latin pop, hip-hop, and reggae influence is so strong in the album. the art director seemed to not know how to market that aspect in a way and i just have one answer: style it like the work mv. make it a bit western-ish cause that's okay.

music-wise, i like that ateez is, in a way, approaching more of world music (if they are still called world music cause they are popular in western mainstream music) in the genre of latin pop and reggae. it makes them stand out and different. yet, i also now know that they have entered the voyage of catering to the western audience with the sounds that usually show up in the charts. is it a bad thing? no, definitely not. but coming from an asian background who enjoyed more of their subdue title tracks like answer and inception, i kind of feel left out. but, to me, that's very much okay cause ateez definitely deserves their success and i like me some diversification in the sound of the kpop industry. but i just wish that they realize that you don't have to seek western validation. it's okay to be kpop. it's okay to be the other when it is your own color.

final ranking:

6.golden hour 5/10 (it's an intro track)

5.empty box 5/10 (pretty repetitive so it's boring if you have it on repeat)

4.shaboom 6/10 (it's too confusing i swear to god)

3.blind 7/10 (good ass song)

2.siren 7/10

1.work 8/10 (it's so bouncy!)

overall release score: 7/10

small conclusion: now yall know how i feel with kpop idols towards the us now. yeah... i hate it. i hate that they have to validate the western style to break even and gain profit. i hate that it is usamerican charts. like i really wanna see an idol taking more of the british populer music, maybe that's the reason why newjeans is popular cause they utilize more of the pink pantheress, british/new england sound instead of the obvious hollywood sound...

[hiphopncountrychick]

🎤🎶 Exploring the Golden Era of Hip-Hop: Classic Albums That Still Draw Us In 🎶🎤

Hey there, fellow music enthusiasts! Let's take a trip down memory lane and revisit some iconic hip-hop albums from the golden era that continue to captivate us to this day.

1. "Illmatic" by Nas (1994):

Nas' lyrical prowess and storytelling on this album are nothing short of legendary. Every track feels like a timeless masterpiece. Hands down one of the greatest albums ever made in the history of hip hop and still inspiring new rappers to this date.

2. "The Chronic" by Dr. Dre (1992):

This album laid the foundation for West Coast hip-hop. Dre's production and Snoop Dogg's smooth flow make it a must-listen.

3. "Ready to Die" by The Notorious B.I.G. (1994):

Biggie's debut is a raw and introspective journey through his life, showcasing his storytelling genius. This album also hailed Biggie as the "King Of New York"

4. "36 Chambers" by Wu-Tang Clan (1993):

The Wu-Tang Clan's unique style and gritty lyricism still resonate with fans worldwide. A true hip-hop classic.

5. "A Tribe Called Quest - The Low End Theory" (1991):

Known for its jazzy beats and socially conscious lyrics, this album remains a blueprint for conscious hip-hop.

6. "Me Against the World" by 2Pac (1995):

2Pac's introspection and vulnerability shine on this record, making it one of his most powerful works.

7. "Straight Outta Compton" by N.W.A (1988):

This album was a game-changer, revolutionary introducing the world to the raw power of West Coast gangsta rap. Hailed themselves as "The most dangerous Group"

8. "The Infamous" by Mobb Deep (1995):

This gritty and dark masterpiece delves into street life and hardship, making it an essential listen.

9. "Paid in Full" by Eric B. & Rakim (1987):

Often hailed as one of the most influential hip-hop albums ever, Rakim's lyrical mastery shines brightly here.

10. "93 'til Infinity" by Souls of Mischief (1993):

A true gem and timeless masterpiece of the West Coast underground, this album is celebrated for its laid-back vibes and intelligent lyricism. Can you believe these guys made an album when they were in highschool and it went straight up in classic. I guess they didn't know at that time that they were not just recording an album but making a history. The title song of this Album "93 till infinity" is still crowned as one of the greatest beats ever produced.

These albums not only defined an era but continue to inspire new generations of hip-hop artists. So, whether you're a seasoned hip-hop head or just discovering these classics, dive in and let the beats and rhymes transport you to a time when hip-hop was pure magic. 🎤🌟

So go ahead and give it a listen to these hip hop gems. Drop your favourite album or favourite songs from these albums. You can also drop your favourite classic hip hop albums in comments.

You can also tell me in comments if you want full album reviews and breakdown for particular each and every album, I can do that for you too.

I'll see you in the next post folks until then, keep jamming guys