#heavyweight rap music

[seventhdiscipleworldwide]

Live From L.A🇺🇲

[dudja]

Classic Movie: Heavyweights #fatcamp #benstiller #comedy #classic #funny

[twelvroses]

SUMMARY ㅤㅤ. . .ㅤㅤRESURRECTION is a mixtape released by South Korean rapper LIZ, under VALENTINE RECORDS. The tape was released through streaming services on December 20th, 2024, and was not promoted nor were any official singles released. RESURRECTION marks the first solo music to be released by LIZ following the disbandment of her girl group BOUQUET in 2021, and her subsequent unsuccessful appearances on survival shows NEXTUP (2022) and DREAMQUEST (2024). Every track on RESURRECTION was written by LIZ, and her name dominates the production credits as well. The tracklist delves into a variety of genres and sounds, with LIZ herself calling the mixtape 'purposefully eclectic,' explaining that she wanted to explore 'a hundred different versions of myself. Some songs are written from my point of view, some from the point of view of the person people think I am, the person I was supposed to be in Bouquet, the person I'm scared of becoming. You burn away one, and another is born.'

"TITLE TRACK" (KIND OF) ㅤㅤ. . .ㅤㅤ In spite of the lack of promotion behind RESURRECTION, a music video for the sixth track, MANTRA (feat. MiO), was uploaded to Valentine Records' official YouTube channel on December 25th. The inclusion of MiO on the song, and again in it's video, caused a frenzy online; the j-pop heavyweight hadn't been seen in two years, and her fans had already accepted the idea that she may never come back - and it's safe to say a LIZ mixtape was the last place they'd expect to be seeing her again. The structure of MANTRA presents it as a duet; the girls sing the chorus together and take a verse each. It wasn't hard for MiO's starved fans to latch onto MANTRA, helping LIZ's far humbler fandom to get the clip's views into the hundreds of millions. While LIZ fans celebrated this success, it begged the question of why MANTRA was never released as a real single.

The video depicts LIZ and MiO as fugitives, on the run in a futuristic city (per the traditional aesthetic of VALENTINE's new gen artists.) Through glimpses of their arrest warrants, we see that MiO is wanted for 'killer runs,' and shortly after, that LIZ is charged with 'armed bobbery.' The video does not try to take itself seriously, ending on a cliffhanger as the girl's getaway car flies over an ascending bridge, over the edge of which a waterfall of pursuing police cars fall.

Perhaps referencing MiO's penchant for decorative lowercase, the final frame of the video presents a message; 'ManY HAVE tRiED.'

TRACKLISTING ㅤㅤ. . .ㅤㅤRESURRECTION would receive mixed reviews; the biggest point of contention being the tone of the record; switching, sometimes abruptly, between moods. The silliness or vulgarity of certain tracks were also criticized. Ultimately, however, the mixtape was well received, considered a strong display of LIZ's talents, highlighting her rapping but also displaying her vocal ability, as well as production skills and lyricism. The featuring artists present on the record also drew interest to LIZ, all with substantially bigger fanbases than her own. LUKE, the most credited producer in VALENTINE history, with a hip-hop career of his own spanning from the early 00s, is notoriously hard to get on the other side of the recording booth these days, and J-pop superstar MiO hasn't shown her face in two years. Fans of theirs were desperate to hear their idols again, and they rallied enthusiastically to support LIZ in turn. Fans of TAROT, however, weren't so happy to hear JORDEN's explicit lyrics, and took their frustrations out on LIZ even though he'd reportedly written the verse himself.

001. LOWLIFE PRINCESS. Written by Liz. Produced by Liz.

002. LIT. (feat. LUKE) Written by Liz, LUKE. Produced by LUKE.

003. PLUG IT, CHARGE IT, WORK IT. Written by Liz, Jang Kitae. Produced by Deer.

004. BURN IT UP. Written by Liz, Ahn Hayana. Produced by Liz, Ahn Hayana.

005. CHEETOS. (feat. JORDEN of TAROT) Written by Liz, Kim Jorden. Produced by Deer.

006. MANTRA. (feat. MiO) Written by Liz, MiO. Produced by Liz.

007. INTERLUDE: WHITE HOT ROOM. Written by Liz. Produced by Liz.

008. WITCH HUNT. Written by Liz. Produced by Liz.

009. ULTIMATE EVOLUTION. Written by Liz. Produced by Liz, LUKE, Kwon Ahin.

010. ANIMAL FARM. Written by Liz. Produced by Kwon Ahin.

011. FORGIVE ME. Written by Liz. Produced by Liz.

ㅤㅤ ㅤㅤUP NEXT ㅤㅤ. . .ㅤㅤbutterfly effect.

[thelensofyashunews]

BBYMUTHA SHARES NEW LP SLEEP PARALYSIS

The defiant Chattanooga-born, Atlanta-based artist and underground heavyweight bbymutha has just shared her new album sleep paralysis—out now via True Panther Records. Fresh off a Washington Post feature that hailed her as a “prolific rapper [whose songs] mix Southern rap menace with the bump and bounce of underground clubs”, bbymutha's highly-anticipated sophomore LP arrives just as she kicks off a 25-date international tour (ticket link here). The album’s title “sleep paralysis” is a literal reference to the syndrome that bbymutha has been afflicted with since childhood – providing a way for her to dive back into memories she didn’t even know she had, an essential component in crafting the album. Defined by her colorful lyricism and genre-bending production, bbymutha has continously stood out among other SoundCloud-era artists since her 2017 hit “Rules” (6M+ Streams), and solidified her name a year later with "Lately" featuring Rico Nasty, as well as the poppy, R&B-infused banger "Sleeping With the Enemy" (9M+ Streams). A viral performance of “Heavy Metal” on COLORS in 2019 followed by the release of bbymutha’s critically-acclaimed debut album Muthaland in 2020 led to subsequent collaborations with Zelooperz, Baby Tate, Na-Kel, Pink Siifu, Kelela, and Fly Anakin on her most recent album, Muthaleficent 3. Earlier this year, bbymutha shared new tracks “gun kontrol” and “go!”, with Pitchfork praising the former for the “allure and force of [bbymutha’s] voice, a thick Tennessee drawl that she wields like a weapon”. bbymutha is fresh off the album's third single “lines”, which HotNewHipHop lauded as “a drug-drenched banger” – continuing to set the tone for sleep paralysis, which bbymutha is using to cement herself as an artist at the forefront of Southern underground scene, while ushering in a new era of self-discovery and reinvention.

sleep paralysis, bbymutha’s full-length debut with independent label True Panther Records, finds her continuing to challenge traditional genre boundaries by experimenting with new sonic landscapes inspired by a trip to the UK. A unique blend of Punk, Electronic, Club, and Rap, sleep paralysis compiles beats from nine different producers including Foisey, Bon Music Vision, and Kilder. A visionary artist who’s steadily built her cult following through a strong run of independent releases, sleep paralysis layers steely and hilarious musings over windswept synths and echoing industrial 808s, bringing both an urgency to bbymutha’s words, and a glint of experimentation to her ever-developing sound. The album’s inspiration was derived from a post-lockdown tour in the UK on which she was introduced to the sounds of 90's Garage and UK dance music, a revelatory moment following a gauntlet of bad luck and a creative rut during the peak of the pandemic. Showcasing why Clash Magazine recently hailed bbymutha as “a staple of the Southern underground scene”, sleep paralysis is an album fascinated with the dreamlike nature of trauma, personal history, and fantasy.

[ausetkmt]

NEW YORK, NEW YORK - JULY 21: Rakim performs during the "Dj Cassidy's Pass the Mic Live" at Radio ... [+] City Music Hall on July 21, 2023 in New York City. (Photo by Richard Bord/Getty Images)Getty Images

Set to release his fourth solo album in 15 years, hip-hop luminary Rakim Allah is making a return to the hip-hop cipher.

Although 15 years have elapsed since the God MC’s last solo project, his stance remains interwoven in the fabric of hip-hop culture, ensuring he has never truly left the scene.

Two weeks ago (May 16), Masta Killa of Wu-Tang Clan took to Instagram and posted an image with Kurupt and Rakim, announcing the upcoming release of a single featuring the three renowned lyricists. Though Masta Killa did not reveal the single's name, he shared it would come from the “#GODSNETWORK” and instructed followers to remain attentive.

Cover of Rakim Allah's single, "Rebirth (N.M.A.) featuring Kurupt and Masta KillaInstagram | @almightym80

On Friday (May 24), Matthew Markoff, a markerting A&R for the project, announced on Instagram the solidification of a contract with Rakim for the release of his fourth studio album, G.O.Ds Network (REB7RTH).

Set for a worldwide release on July 26, there will also be a special edition released as a six-inch A and B side vinyl, with “REB7RTH” on one side and “Love is the Message” on the other. This special edition, limited to 500 pieces, will feature an array of hip-hop heavyweights such as Masta Killa, Kurupt, Nipsey Hussle, Snoop Dogg, Planet Asia, as well as seasoned creatives including Sally Green, Louis King, Kobe Honeycutt, Summer Yuki, and more.

The debut single from the album, “Rebirth (N.M.A.),” also produced by the “I Ain’t No Joke” lyricist, featuring Masta Killa and Kurupt, is set to drop next month on June 21, coinciding with the web and pre-order launch. Kurupt shared the single’s official cover on Instagram Friday (May 24), confirming the coming of Rakim’s new album. “July 26th - ‘Rebirth’ Rakim new album…Produced by Tha God Mc himself,” the caption noted.

Cover for six-inch special edition side A and B side vinyl, “Love is the Message” side.

The album is thoroughly produced by Rakim Allah, with Markoff also serving as an executive producer.

G.O.Ds Network (REB7RTH) marks Rakim’s first solo effort since 2009. He transformed the landscape of rap in 1987 with Eric B. on Paid In Full, and the duo went on to shape the Golden Era of rap with three additional albums: Follow The Leader (1988), Let the Rhythm Hit 'Em (1990), and Don’t Sweat The Technique (1992), all deemed classics of the Golden Era.

Rakim’s solo debut came in 1997 with The 18th Letter, featuring production from Pete Rock, DJ Premier, DJ Clark Kent, Father Shaheed of Poor Righteous Teachers, and more. It debuted at number four on the Billboard 200 and went certified Gold. In 1999, he quickly followed up with his second solo album, The Master, which includes the DJ Premier-produced standout single, “When I B on tha Mic." Afterward, Rakim took a 10-year hiatus before releasing The Seventh Seal in 2009, the first project on his record label Ra Records.

Throughout the years, Rakim has made guest appearances on unapologetic rap songs including G-Dep’s 2001 track “I Am” with Kool G Rap, the 2003 Dr. Dre-produced Jay-Z track “The Watcher 2,” Lloyd Banks’ 2006 song “You Know the Deal,” and he even added a surprise verse on Linkin Park’s 2014 track “Guilty All the Same.”

With his latest performance alongside Slum Village and Talib Kweli at Panic in L.A., the hip-hop luminary has been making his presence felt in the culture. He narrated a Bronx history video for the New York Yankees' opening season, and last month, he joined DJ Jazzy Jeff and Ravi Coltrane for a showcase at the Kennedy Center. As hip-hop enters its 51st year and Rakim makes a comeback, it's safe to conclude that hip-hop was never a fad and is bound to continue dominating and persisting as not only a music genre but a culture.

[therappundit]

***The Rap Pundit Picks: My Favorite Music of 2024***

2024: one of the greatest years for rap music in Hip-Hop history.

Agree or disagree, if we could separate the music and artists themselves from Hip-Hop culture in general (which depending on who you ask, may not be an acceptable option - and I do understand that), 2024 was filled with arguably the widest range of different styles that rap music has ever heard. From the traditional to the genre benders, from the thoughtful writers to the lucid vibers, to me the notion that "Hip-Hop is dead" just means you're failing to adapt your methods of finding new music.

2024 was a year that featured a new single from Nas & DJ Premier (and the promise of their long-awaited album collaboration), and the potential of a new JAY-Z album (by year's end, we are hearing far more concerning headlines), both of which, not too long ago, would be hovering near the top of the highest billed album expectations of the year. But by the end of 2024? Mostly forgotten. Yes, plenty of veterans like Snoop, LL Cool J, Ice Cube, and Common left their footprints in 2024, but over the past year, some significant waves were made from less celebrated sources.

Beneath the shadow of a historic feud between some of Hip-Hop's heavyweights, a tide-pool of exciting artists were releasing noteworthy music at a furious clip. Long since faded are the narrow lanes separating underground from mainstream, as are the traditional routes for "breaking through". Today you're more likely than ever to find a rap music fan that listens to Mach-Hommy and Playboi Carti than you are to find a rap fan that just listens to what's in heaviest circulation on Hot97. None of this is a new development, it's just becoming more of the reality all the time.

I don't know if my favorite music on these lists today will be in heavy rotation by this time next year, but I'm fairly certain most of these MCs and Producers will still be there in some capacity. There's so much to look forward to, from indy veterans to newer talent, I can't come close to naming everyone, but I feel like something would be missing from this list if I didn't give special recognition to artists like Previous Industries, Child Actor, J.U.S, Jay Cinema, dp0mmy, No Label, Cavalier, shemar, Mutant Academy, Maassai, Mike Shabb, Semiratruth, Spice Programmers, Reco, Halal Boys, Quelle Chris, Nappy Nina, Errol Holden, 7xvethegenius, Sideshow, Futurewave, HOODLUM, Conductor Williams, MIKE, Ox Omni, Jaeychino, Mach-Hommy, Black Chai, Wordsworth, Teller Bank$, Chuckyy, Rome Streetz, Boldy James, Earl Sweatshirt, Sleep Sinatra, Wiseboy Jeremy, Defcee, Wavy Da Ghawd, Myquale, Big Flowers, Blu, JUNE!, Sasco, Silky Southern, Phiik, Joshua Virtue/RAMA, LUNGS/Lonesword, August Fanon, Certified Trapper, Jeph Early, Nick Satchel, Stu Bangas, NEW AGE COLLECTIVE, Yonaa, Westside Gunn, Baby Stone Gorillas, Myles Clayton, Che Noir, BRISTACKZ, Tokyo Cigar, Knoweye, Noqh, Chow, Kadeem, Valee, Messiah Musik, AKAI SOLO, MESSIAH!, Bossman DLow, Rei The Imperial, Nino Paid, Reiiki APOLLO, Bub Rock, J Words, Navy Blue, Armand Hammer, Doechii, Rich Jones, Rapsody, Grafh, BabyChiefdoit, The Alchemist, YUNGMORPHEUS, Alexander Spit, Ol' Burget Beats, Ronday, TiaCorine, LaRussell, Jaysanityy, Chuck Strangers, CJ Fly, Ovrkast., Jiggs, STAR BANDZ, Pink Siifu, and Bruiser Wolf, Nolan The Ninja, and many, many more...for providing 2024 with some great reminders that Hip-Hop is still in good hands.

And R.I.P. to Ka, one of the greatest writers that the genre has ever scene.

I tried to only represent one release from each artist here, in an effort to represent as many different folks as possible; however, a lot of MCs released multiple projects this year, so if I felt like they had more than one release, and two of those releases were neck & neck with being their best work of the year, I tried to make room for both.

s/o to all of these artists for sharing so much great music with their fans, critics, and hopefully any soul that discovers them through lists like this one...and a toast to what we can only hope will be a happy & healthy New Year (we could certainly use it). 🙏

************************************************************************

*TOP SONGS*:

100. "Rerock The Hook" - Drakeo the Ruler feat. Icewear Vezzo

99. "CULLINAN GANG" - Nasaan feat. Icewear Vezzo

98. "Bear Fruit" - Kadeem feat. Rugby LoSport & FUNERAL Ant Bell

97. "Beverly Drive" - Erick The Architect

96. “Humpty” - Semiratruth

95. "Vertino" - Conway The Machine feat. Joey Bada$$

94. “Bonnet” - TiaCorine

93. "PANDURICANE" - Conductor Williams & Rei The Imperial

92. “BUMBO” - CJ Fly & Stoic

91. "live like this" - Jiles

90. "H.Y.B." - J. Cole feat. Bas & Central Cee

89. "Witness" - Certified Trapper

88. "Ray Wop" - Ray Vaughn

87. "30 (Freestyle)" - JID

86. "NOT FINE AT ALL" - Killian Fonlon

85. "Whqtthe" - Noqh feat. chasay, Kzoba & Jaysanityy

84. "Difference" - YN Jay feat. Tay B & Kash Doll

83. “Colors” - Remble feat. Mozzy & Stoneda5th

82. "HIGHJACK" - A$AP Rocky feat. Jessica Pratt

81. "Ya Don't Stop" - DJ Premier feat. Rick Ross, Big Sean & Lil Wayne

80. "9 LIVES" - R2R Moe

79. "A Damaged Wraith" - Vic Spencer feat. Rockness Monsta

78. "FREE SMURK, BIG EDDIE & CAM" - YTB Fatt

77. "Cruise Piff" - Jay Cinema & CHoW

76. “Super Rufus” - Rufus Sims & Billionaire Boyscout

75. "?" - Big Yavo

74. “THAT’S HARD” - Anycia feat. Cash Cobain

73. "SINCE THEY TOLD ME I'M A LEGEND" - Jeph Early & Gios4ma

72. "Bill Belichick" - Mg Sleepy feat. Bfb Da Packman & Myaap

71. "It's Us" - BabyFxce E feat. Luh Tyler

70. “place i rep” - Remy Banks

69. "Grandmother's Lessons" - Your Old Droog

68. "Doughboy Daisy" - WB Nutty feat. HBK Kid & Payroll

67. "ZYDECO" - Ronday

66. "HOO" - LIFEOFTHOM & Stoic

65. “Banded Up” - Chief Keef feat. Tierra Whack

64. "Hurry Up & Buy" - Bruiser Wolf

63. "Top Dawg" - Yonaa

62. "Killing Em'" - Reco feat. Gorgeous Jefe, Solute, Lord Ra & Ilxtus

61. "Still Praying" - Westside Gunn feat. Stove God Cooks, Benny The Butcher, Conway the Machine & Boldy James

60. “Rotation” - BagChaser Reke feat. 2Real

59. "See The Sunset" - Nick Satchel & dp0mmy

58. "Me vs Me" - Jaeychino & SlimeGetEm

57. "Memoriam pt. 2" - Sleep Sinatra & bloomcycle feat. Desde

56. "Local Anastasia" - Kenny Segal & K-The-I??? feat. Open Mike Eagle

55. "Days Before Juneteenth" - HALAL BOYS

54. "Omakase" - Nappy Nina & Swarvy feat. Maassai & Stas Thee Boss

53. "4Slime" - Young Nudy

52. "proper vertigo" - mynameisntjack feat. Sol ChYld

51. "Up Now" - Mustard feat. Lil Yachty, BlueBucksClan & 42 Dugg

50. “Black Girl” - Che Noir feat. Rapsody

49. “Penmanship” - Kooley High & Tuamie

48. "RIO FREE" - Rio Da Yung OG

47. "Water" - BRISTACKZ

46. “I.S.D.A.M.L.” - Boldy James & Whothehelliscarlo

45. “12:50 In New York” - Chuckyy

44. "Wrist Buss" - Myaap

43. "mikealstott" - Blvck Svm feat. eeryskies & Boldy James

42. "Trippin" - Bossman DLow

41. "Words2LiveBy" - El Cousteau feat. Earl Sweatshirt

40. "Complications" - Reiiki APOLLO

39. "Syrup Sandwiches" - Cordae feat. Joey Bada$$

38. “Type Shit” - Future & Metro Boomin feat. Travis Scott & Playboi Carti

37. “INFORMATION AGE” - No Label [Ahk Sair, Amiri Mikel, Yo OG, Funk Shway, buddy.not.bud]

36. “Custard Spoon” - Cavalier

35. "RENEE (MAY DAY)" - Sideshow

34. "Money Problems" - Nino Paid feat. Lil Gray

33. "Don't Do Drugs" - J.U.S. & Squadda B

32. “Curtis Jackson” - C Stunna feat. Skrilla

31. “Rocafella Chain” - Grafh feat. Freeway, Peedi Crakk & Memphis Bleek

30. “PAYMEAGRIP” - Ovrkast. & Cardo Got Wings

29. "Detroit" - Tee Grizzley feat. 42 Dugg

28. "From The Dirt" - Phiik & LUNGS feat. AKAI SOLO

27. "California Dream" - Ab-Soul feat. Vince Staples & Kamm Carson

26. “I’m G (OMG)” - Blu & Shafiq Husayn feat. Chuuwee & Born Allah

25. “SINCE I WAS LIL” - JasonMartin & DJ Quik feat. Curren$y, Bun B & Jay Worthy

24. "Short Stories" - Jawnino feat. MIKE

23. “LIBERATION” - Mutant Academy feat. Quelle Chris

22. “Pedal tha Ave” - Wiseboy Jeremy & Kirti Pandey

21. “DUMMY” - JUNECINEMA feat. RoBB, Chow & rivan

20. “Psalm” - 7xvethegenius feat. Jae Skeese

19. “MESCALINE” - LaRussell & CAM CORTEZ

18. "coolin fr" - Jaysanityy

17. "mukbang" - Nolan The Ninja feat. Fatboi Sharif

16. “Lost Angel” - Blu & Evidence

15. "Frosted Flake" - DJ Rude One feat. Valee

14. “Gank Move” - Big Hit, Hit-Boy & The Alchemist feat. HitgirlLENA

13. “Dream Blunt Rotation” - Rich Jones & Sleep Sinatra/SINAI. feat. AJ Suede, Qari & J.U.S

12. "ALL OVER" - JUNE! feat. Israel Jones, $hyyguyy & Radicule.

11. “Zayre” - Previous Industries [Open Mike Eagle, Video Dave, STILL RIFT]

10. “SONJE” - Mach-Hommy. feat. Hephzibah

9. “The Harder They Come” - YUNGMORPHEUS & Alexander Spit

8. "Yea Yea" - STAR BANDZ

7. "Sword Lilies" - Cavalier & Child Actor feat. Quelle Chris

6. “expensive piss” - shemar & Child Actor

5. "Collection Plate" - Ka

4. “Hey Now” -Kendrick Lamar feat. DODY6

3. "Sage" - Rome Streetz & Daringer feat. ScHoolboy Q

2. "Doves" - Armand Hammer feat. Benjamin Booker

1. "Free Jesus" - Mike Shabb

**********************************************************************

**********************************************************************

*TOP ALBUMS*:

*Honorable Mention (absolutely belong in my top 50 as well, but this year was soooo deep)*...

Keep Holly Alive by Mutant Academy, The Grand Design by Philmore Greene, DREAMDROPDRAGON by AKAI SOLO, From Vallejo With Love by LaRussell & Cam Cortez, the First to Make Contact When We Dap by R.A.P. Ferreira & Fumitake Tamura, WATCH THE THRONE by Jaeychino, My Story Got Stories by Bruiser Wolf, The Tonite Show The Sequel by Curren$y & DJ.Fresh, Day Shift, Vol. 1 by Lil Tre, Pigmen In the Vitreous by Knoweye, Alchemy by Jay Cinema & Chow, All Infinite by Kooley High & Tuamie, Slant Face Killah by Conway The Machine, Personification by Maxo Kream, I LAY DOWN MY LIFE FOR YOU by JPEGMAFIA, Chiraq Mogul 2 by ZMONEY, Things I Should've Said When I Was Awake EP by Reiiki APOLLO, OTHERWISE A BLUR by blackchai & August Fanon, Marciology by Roc Marciano, Alligator Bites Never Heal by Doechii, OPERATION FLAMETHROWER by Conductor Williams & Rei The Imperial, Flint 2 Detroit by YN Jay, Being The Bigger Person Sucks by Vic Spencer

50. Zombie Love Kensington Paradise by Skrilla

49. REVELATOR by ELUCID

48. The Pride & Glory by Teller Bank$ & Ed Glorious

47. CHROMAKOPIA by Tyler, The Creator

46. Above All by Myquale

45. Keep Me Company by Skyzoo

44. Brown in America by HOODLUM

43. Pinball by MIKE & Tony Seltzer

42. Two Kings by Stu Bangas & Wordsworth

41. BLUE LIPS by ScHoolboy Q

40. BTTRSWT by NEW AGE COLLECTIVE

39. Transatlantic Shit 2 by Spice Programmers

38. Black Box: JOSHUA IS DEAD by Joshua Virtue

37. SOLACE by Marco Plus

36. A Foresaken Lover's Plea by Chuck Strangers

35. Still Praying by Westside Gunn

34. MMCHT by Nickelus F

33. Save The Bees by Big Flowers & Messiah Musik

32. CHUPACABRA by JasonMartin & DJ Quik

31. Black & Whites by Big Hit, Hit-Boy & The Alchemist

30. Nothing Is My Favorite Thing by Nappy Nina & Swarvy

29. CINE by Cavalier & Child Actor

28. IS THIS A SAFE SPACE? by Psalm One & Optiks

27. The Skeleton Key by Roc Marciano & The Alchemist

26. DECON$TRUCT!ON by Maassai

25. Deathtape 2: We Gon’ Need Each Other by Quelle Chris, Cavalier, and Denmark Vessey

24. This Too Shall Pass by Yo OG

23. Black Blues Brothers by HALAL BOYS

22. Soul Burger by Ab-Soul

21. Halfway There by dp0mmy

20. Bag Man Julio by Jaysanityy

19. 74: Out of Time by Ol’ Burger Beats

18. Carrot Season by Phiik & LUNGS

17. Memory(ummm) by Sleep Sinatra & bloomcycle

16. Almighty So 2 by Chief Keef

15. WAKING UP AND CHOOSING VIOLENCE by YUNGMORPHEUS & Alexander Spit

14. i'd rather not by Nolan The Ninja

13. PERSEVERANCE by Jay Cinema & JUNE! as JUNECINEMA

12. Death of Deuce - 7xvethegenius

11. Sour Dub by Rich Jones & SINAI.

10. F.U.N. T.O.Y. by Sideshow

9. GNX by Kendrick Lamar

8. 3rd Shift by J.U.S. & Squadda B

7. Los Angeles by Blu & Evidence

6. Different Type Time by Cavalier

5. Service Merchandise by Previous Industries [Open Mike Eagle, Video Dave, Still Rift]

4. sunscreen by shemar & Child Actor

3. The Thief Next to Jesus by Ka

2. #RICHAXXHAITIAN by Mach-Hommy

1. Sewaside III by Mike Shabb

See you in the '2-5...

[hiphopncountrychick]

🔵🎵 Unveiling the Masterpiece: A Deep Dive into Jay-Z's "The Blueprint" 📀🔍

Hey there, fellow music explorers and rap enthusiasts! 🎤🎶 Today, we're taking an exhilarating journey through one of the most iconic albums in hip-hop history: Jay-Z's "The Blueprint." 🚀

Background of the Album:

Picture this: it's the early 2000s, and Jay-Z, already a titan in the rap game, is on a mission to create something that'll go down in the annals of music history. But here's the twist – he did it in just two days! Yup, after the 9/11 attacks, Jay-Z was filled with a newfound urgency to create, and the result was "The Blueprint."

Fun Fact #1: Blueprint's Blueprint:** The album's name itself, "The Blueprint," is a nod to Jay-Z's intention to craft a blueprint for the future of hip-hop. And boy, did he succeed!

Fun Fact #2: Kanye's Breakthrough:** This album also marked a young Kanye West's emergence as a producer extraordinaire. His soulful, sample-heavy beats gave "The Blueprint" its unique sound and set the stage for his own legendary career.

Fun Fact #3: Iconic Cover Art:** The cover art is an homage to Elvis Presley's "King Creole" soundtrack, underlining Jay-Z's aspiration to be the king of his own musical domain.

Now, let's dive into some tracks:

1. "The Ruler's Back": The album opens with triumphant horns, setting the stage for Jay-Z to assert his dominance in the rap game.

2. "Takeover": The lyrical heavyweight bout between Jay-Z and Nas. Jay's wordplay and punchlines in this track are nothing short of legendary.

3. "Izzo (H.O.V.A.)": An anthem of success, where Jay reflects on his journey to the top. The Jackson 5 sample is pure magic.

4. "Girls, Girls, Girls": Jay-Z's take on love and relationships, with each verse dedicated to different women in his life.

5. "Song Cry": A deeply personal track where Jay-Z reveals his vulnerabilities and the toll that fame and success can take on relationships.

And that's just the tip of the iceberg! "The Blueprint" is a journey of self-discovery, a testament to Jay-Z's lyrical prowess, and a turning point in hip-hop history.

So, whether you're revisiting this classic or discovering it for the first time, get ready to be blown away by the lyrical genius, the soulful beats, and the timeless storytelling of "The Blueprint." 🌟🔥 What's your favorite track from this masterpiece?

[hhoepromotions]

📲 L.A. Indie Rap Heavyweight King Lil G Cruises Under "City Lights" on New Single & Music Video

[wealthy-star-jim-jones]

A Phenomenon Hip-Hop Iconic Journey of Jim Jones

Join us on a voyage through the illustrious career of Jim Jones, a titan in the realm of hip-hop whose influence knows no bounds. From his humble beginnings to his rise as a cultural icon, Jim Jones has left an indelible mark on the music industry.

Who is He?:

Jim Jones, also known as Joseph Guillermo Jones II, is a multifaceted talent revered for his contributions as a rapper, record executive, and entrepreneur. With his signature style and authentic voice, he has garnered widespread acclaim and adoration from fans worldwide.

Top Songs:

We Fly High - A chart-topping anthem that propelled Jim Jones to mainstream success, capturing the essence of his vibrant persona and streetwise lyricism.

Ballin' - Featuring Lil Wayne, this infectious track solidified Jim Jones's status as a hip-hop heavyweight, dominating airwaves and playlists globally.

Certified Gangstas - A gritty collaboration with The Game, showcasing Jim Jones's raw storytelling and unwavering commitment to authenticity in the rap game.

Age:

Born on July 15, 1976, Jim Jones continues to defy expectations and redefine the genre, showcasing a timeless appeal that transcends generations.

Net Worth:

With a career spanning over two decades, Jim Jones has amassed a significant net worth, a testament to his success as both an artist and savvy entrepreneur. For more details, about other celebrity networks  visit WealthyStars.net.

Struggles:

Throughout his journey, Jim Jones has faced numerous obstacles, from navigating the challenges of the music industry to overcoming personal adversities. Yet, his resilience and tenacity have propelled him forward, shaping him into the icon he is today.

Awards:

Jim Jones's contributions to hip-hop have been celebrated with various awards and accolades, including BET Hip Hop Awards and MTV Music Awards, affirming his impact and influence on the culture.

Latest News:

Stay tuned for the latest updates on Jim Jones's endeavors, from new music releases to groundbreaking ventures. Keep abreast of his dynamic career by visiting wealthystar Jim Jones for exclusive insights and updates.

[dailyrapfacts]

Ed Lover believes Rakim musically birthed Jay-Z, Biggie, Nas

Ed calls Rakim ‘game changer’ of rap Legendary media personality Ed Lover sat down with Carl Banks and Rakim for the New York Giant where he praised the latter for changing rap. He explained that the rapper influenced heavyweights such as Jay-Z, Biggie and Nas. “People don’t understand Rakim changed Hip Hop — he’s a game-changer,” Ed said, before putting Rakim in the same category as the likes…

[mywifeleftme]

136: Emmylou Harris // Wrecking Ball

Wrecking Ball Emmylou Harris 1995, Elektra

What side were you on in the Lanois Wars? No matter whether it was Sucks or Good, we all lost. All I see is an endless grey expanse of stormclouds thundering with muffled floor toms, ground heaped with murky guitar tones and broken aviators, waves of reverb washing against a tastefully emptied shore. Probably the worst thing anyone can really say about Lanois’ serenely wreathed production on the series of career reclamation projects he helmed in the ‘90s (Dylan, Nelson, the Neville Brothers etc.) is that it’s all a bit mannered, that it doesn’t fully trust these icons to impress on their own steam anymore. There are plenty more sphincterous rings of producer hell than that in my estimation; those albums all did what they set out to, and sound pretty great. At his best, “Eno’s pet romantic” (as Robert Christgau once called him) brought the most stirring grand gestures of New Age/ambient to rock, creating music that felt like glimpsing heaven on a rainy day.

(God that paragraph was stupid. I should’ve cut that whole bit right? Moving on.)

These days Lanois produces infrequently—by the 2000s he'd become an artisan who specialized in a single expensive, antiquated handicraft, dealing to a small clientele of legacy artists looking to tastefully evoke their own previous triumphs (e.g. U2) or to tastefully evoke the previous triumphs of someone else (e.g. The Killers). In 1995 though, when he worked with Emmylou Harris on this comeback album, he was at the height of his reputation as an elder-whisperer, and the narrative around the album all but said he had to dig Harris out of her grave and shoot her with the Re-Animator serum to give her career back to her. (Never mind that Harris was just 48 years old and both looked and sounded as great as she ever had.)

Wrecking Ball was certainly a radical change in her presentation to this point in her career. Out went the Nashville session guys, in exchange for heavyweights from her new producer’s rolodex (notably Larry Mullen, Jr., Brian Blade, Daryl Johnson, fellow Canadian Malcolm Burn, and Lanois himself on guitar). Moody, Anton Corbijn-esque portraits replaced the teased-up hayloft glam photography of her last few releases. Back in the ‘90s and early ‘00s the cliché answer to someone asking what kind of music you like was, “Oh, everything except country and rap.” Like Johnny Cash’s American Recordings series, Wrecking Ball was about retouching Harris’ star persona to allow more rock fans to relax their biases and enjoy her for what she’d been all along.

Harris may be my favourite country singer. While she’s capable of a powerful holler, her greatest gift is her softest, the way she allows her voice to become so breathy it trembles in and out of hearing—on the ballads her vocal lines are like landscapes naturally hollowed out by the wind. Even when she was a teenager, she wielded her staggering voice as though it were an instrument of glass, so still and introspective compared to the Tammy Wynettes and Tanya Tuckers who dominated the genre in the ‘70s. These qualities only came into sharper focus as she aged—listen to her parched whispers on Neil Young’s “Wrecking Ball,” the way she gathers strength as she builds to the cosmic chorus of “Waltz Across Texas Tonight” (a rare co-writing credit, with Rodney Crowell).

Despite her many successes as a solo artist, she’s if anything better known as a peerless backing vocalist, willing to give herself over to help others accomplish their own visions. The stuff that most explicitly resembles Lanois’ solo work (e.g. “Deeper Well,” “Blackhawk”) is perfectly fine, but seems better suited to like a Robbie Robertson solo album than one of Emmylou’s. The record is better when it plays to its star’s established strengths—not because she’s incapable of doing different things, but because it’d been too long a time since those strengths were treated as delicately as they are here. Again, as with American Recordings, I don’t believe Wrecking Ball is its artist’s ‘definitive’ work. But it is a very satisfying repackaging that bought her an entrée to a non-country audience that otherwise might’ve taken much longer to embrace her, and an enduring record on its own merits.

136/365

[luuurien]

RAYE - My 21st Century Blues

(Pop Rap, Contemporary R&B, Pop Soul)

Now an independent artist and in full control of her artistry, RAYE’s ambitious debut album is a messy but lovable collection of introspective pop songs where her many different goals coalesce into a larger whole that doesn’t quite ever make it clear what she wants to do. By trying to do a little bit of everything, My 21st Century Blues struggles to say much at all.

☆☆☆

Rachel Keen has done lots in her years as a musician, yet it’s not until now that she has been able to release her debut. Signed to Polydor at 17, they put strict limitations on what she could do with her career and refused to let her release her first album, trapping her in the world of singles and EP’s that stifled her artistry and made it impossible for her to gain enough traction to meet their qualifications at all. Now, after parting ways in 2021, she has the independence and power to release her debut album My 21st Century Blues, recounting everything she couldn’t say in her time with Polydor and what the future of her music as RAYE might look like. In concept, it’s a massively empowering and artistically exhilarating moment for Keen, her refusal to distort her vision for the industry leading her to absolute freedom and the ability to do whatever she likes in every part of her music and say whatever she’d like. In its full 47 minutes, though, My 21st Century Blues has trouble saying anything specific, Keen jumping from statements on her time under an oppressive label to personal struggles and her encounters with abuse to sweet love songs with abandon, touching upon many topics but never finding a throughline to connect them all. In turn, the album can be a bit of a drag to sit through even if its songs tend to be well put together and enjoyable to listen to, My 21st Century Blues presenting itself more like a collage of how Keen bounces between genres and ideas than anything else and losing out on the full emotional punch of many ideas when one is so isolated from the next (on occasion, the songs themselves are just kind of bad overall). It’s not a bad debut for Keen by any means, but she makes it hard to figure out exactly what she wants to achieve as RAYE in the future. In its strongest moments, Keen melds her detailed and passionate songwriting with production weighty and detailed enough to match it. Largely produced by Keen herself and pop heavyweight Mike Sabath, Keen takes advantage of his boisterous and dramatic style without succumbing to the pitfalls of the one-dimensional radio pop he’s previously had a hand in (you can find him on tracks like Meghan Trainor’s Wave and Shawn Mendes’ It’ll Be Okay). Keen’s often conversational vocal delivery in her songs lends itself to these thick, blurry blocks of instrumentation, the Ibiza house of Black Mascara darkened by a tense rap verse that directly confronts a man who’d spiked a drink in the past that brings depth and greater weight to the oppressive vocal layers and thumping four-on-the-floor, while breakout single Escapism indulges in whining G-funk synths and a fantastically heavy drum groove perfectly fit for the seductive and venomous bender she goes on after a breakup and the regrets that come the morning after, Keen’s range as a performer broader than most and allowing her to bounce around different genres without sacrificing her personality or storytelling in the process. Her writing can, at times, feel like it’s a hammer stamping every emotion straight down onto a song even when the production and her vocals imply subtlety and detail - I’m thinking particularly of Body Dysmorphia and how it discusses eating disorders so plainly even when the drowsy beat pines for something less linear and the self-described “...love song to {her} addiction” Mary Jane where Sabath’s minimalist production causes lines like “You're a stone cold bitch in the morning, aren't you?” or “And I bought three bottles 'cause I tend to drink you dry” to lose any impact when Keen’s singing them so straight - but overall the two of them find a strong balance between mainstream-friendly pop songcraft and the sinister energy Keen’s looking to unleash after years of being locked under a label. When she lightens up the production with pop soul numbers like The Thrill Is Gone and Worth It, it undeniably feels like a comfort zone and lacks much of the scene-setting the rest of My 21st Century Blues thrives on, but she makes great use of these smoother soul numbers to provide breathing room in the tracklist and show off her powerhouse vocals (especially in the finals chorus of Worth It). The unevenness in style and tone throughout My 21st Century Blues affects the album as a whole, but on a track-by-track basis and looking at Keen’s raw talent as a producer and vocalist, there’s lots to love about everything she brings to the table here. But this is still a 47 minute listen in full, and with that Keen’s broad stylistic strokes and scattered pacing throughout the album causes it to drag in ways that feel strange when much of the album is always steadfastly moving forward. There’s a disconnect in feel from track to track when it seems like each song doesn’t have much of a connection to the next, most notably in the core of the album where dark ballad Ice Cream Man is situated between the woozy pop soul of The Thrill Is Gone and spiky rap cut Flip a Switch, Ice Cream Man stuffed between two tracks with no relation to it and causing so much of its emotional weight to be smothered as a result, Keen giving you no time to process the story of abuse and reclaiming her power in one of the album’s most vital moments. Keen has referred to the album during interviews as “songs I’ve had for years but was never encouraged to share,” and though hearing so many sides of Keen at once is often beautiful, it turns the album more into a collage than a singular listen, fit for you to pick some favorites from rather than sit with from front to back when no one feeling is able to be engaged with for longer than three or four minutes at a time. These songs all feel particularly charged in their individual lanes - drama laden R&B, swooning pop, infectious UK rap - but My 21st Century Blues never finds a way to unite all these ideas under one goal, and when the topic matter and mood of these songs shifts so wildly, it’s difficult to gain much of an emotional connection to the album as a whole. For what it lacks in clarity and meticulousness, My 21st Century Blues brings vibrance out of every side of Keen’s artistry, showing off not only how comfortable she is in trying new things but how she can modulate between styles and keep the foundations of her music intact. She’s refused to let the industry mold her, and part of the joy of this album is hearing Keen prove to both herself and the label she left how invaluable her talents are and how much she can do when given the opportunity. She’s inventive in her approach to modern pop and R&B blends and how she can fuse those ideals into whatever she likes, be it brooding house-pop or a gospel finale about shaking ass, My 21st Century Blues encapsulating a little bit of everything that makes RAYE - that alone makes it more than worth a bit of your time.

[thelensofyashunews]

Q DA FOOL SHARES NEW ALBUM KING GEORGE

Finally home following a years-long battle with the Maryland legal system, DMV rapper Q Da Fool is "reclaiming his career," in the words of a recent Rolling Stone feature, with his new album King George – out now along with an accompanying music video for "Shining". The hard-hitting LP arrives on the heels of lead single "Pookie" (feat. Veeze), an explosive track named for Chris Rock's character from the 1991 cult classic film New Jack City, which stamped Q Da Fool's first collaboration with the aforementioned Detroit heavyweight. Since putting out charismatic homecoming single “Heisman” last year — his first release as a free man after serving 18 months in jail — Q Da Fool has continued to flood the streets with his distinct sound. 2023 was a massive year for the DMV mainstay, who garnered recognition for projects I’ll Be Back, Home Detention, and Art of Ambition, the latter of which saw HotNewHipHop praise Q Da Fool for “putting the Free State on everyone’s radar.” Recent months have seen the rapper release a strong run of singles, including “Hey Auntie”, "chopt", and "Tarzan", as well as a collaboration with Daimo Dunkin on "Clientele".

Hailing from the small town of Largo, Q Da Fool has long been a DMV standout — as showcased on a number of hit singles including “Win” (10M Streams) and a momentous collaboration with Shoreline Mafia — steadily carving out a distinct lane by sharing detailed stories of his own lived experiences within Maryland street life. Having released projects with producers like Kenny Beats as well as the Grammy award-winning Zaytoven, Q has chosen not to follow directly in the footsteps of his area’s popular go-go wave, an artistic decision that has allowed him to fully flex his gritty lyricism and energetic flows. Fresh off an impressive run of 2023 mixtapes, the arrival of King George marks the beginning of a new era for Q Da Fool as he continues to put on for the thriving DMV rap scene.

[lboogie1906]

Roy Levesta Jones Jr. (born January 16, 1969) is a former professional boxer who holds dual American and Russian citizenship. He competed in boxing from 1989 to 2018, and held multiple world championships in four weight classes, including titles at middleweight, super middleweight, light heavyweight, and heavyweight, and is the only boxer in history to start his professional career at light middleweight and go on to win a heavyweight title. As an amateur, he represented the US at the 1988 Summer Olympics, winning a silver medal in the light middleweight division. He is considered by many to be one of the greatest boxers of all time, pound for pound, and left his mark in the sport's history when he won the WBA heavyweight title in 2003, becoming the first former middleweight champion to win a heavyweight title in 106 years. He became the undisputed light heavyweight champion by unifying the WBA, WBC, and IBF titles. He was known for possessing exceptional hand speed, athleticism, footwork, explosiveness, punching power, movement, and reflexes. He holds the record for the most wins in unified light heavyweight title bouts in boxing history, at twelve. He is ranked by BoxRec as the 29th greatest pound-for-pound fighter of all time. The Ring magazine named him the Fighter of the Year and the World Boxing Hall of Fame named him the Fighter of the Year. He is a three-time winner of the Best Boxer ESPY Award. The Boxing Writers Association of America named him the Fighter of the Decade. He was born to a family with a boxing tradition. His father, Roy Jones Sr., was a Vietnam war veteran who was awarded and a middleweight boxer as well. He and his wife have three children. He started his rap music career with his album, titled Round One: The Album and the debut single, "Y'All Must've Forgot". He has made multiple songs regarding Florida State University Athletics. He resumed his duties as a commentator for HBO World Championship Boxing, calling the Floyd Mayweather Jr.–Sharmba Mitchell fight and the Jermain Taylor–Bernard Hopkins rematch. He was their analyst for Boxing After Dark. #africanhistory365 #africanexcellence https://www.instagram.com/p/CnelVODrkcS/?igshid=NGJjMDIxMWI=

[trapangeles]

BlueBucksClan & Anwar Carrots Drop Visual for "Tables Turn" Featuring Axlfolie & Ye Ali

West Coast heavyweights BlueBucksClan team up with designer and creative visionary Anwar Carrots to deliver the official video for their latest track, "Tables Turn". Produced by the dynamic duo Axlfolie and Ye Ali, this collaboration is a perfect fusion of music, culture, and style.

Directed by Aidan Colt Sheldon, the visual is a sleek and vibrant representation of the song's energy, highlighting BlueBucksClan's signature swagger. The video is powered by Puma and Anwar's own brand, Carrots, seamlessly blending the world of high fashion with the raw authenticity of L.A.’s rap scene.

"Tables Turn" showcases BlueBucksClan’s smooth delivery over an addictive beat, proving why they continue to dominate the West Coast rap game. With its bold visuals and laid-back vibe, this release encapsulates the essence of BlueBucksClan’s artistry while giving a nod to Anwar Carrots' unique creative influence.

Fans can stream "Mud" and other tracks through the provided link while they soak up the vibes of this latest release.

"This one is for the culture," as fans have commented, and it’s clear BlueBucksClan and Anwar Carrots are here to keep the momentum going.

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!

Like & Listen To Our Spotify Playlist

trapLAXradio On The Air Now!

The Latest Music, Videos, News, Entertainment……