the Kanye tweet is obviously a joke, the Def Jam tweet is just a label doing its job (and much dumber tweets have been deemed the GOAT tweet), and Kanye had entries at 1, 7 and 26 - MBDTF, Yeezus and TLOP respectively.
the revisionist claim that MBDTF isn't hands-down a top 3 rap album of the decade is just batshit insane. I get not liking Yeezus, but it is absolutely in the top 15 for me, and many people clearly feel the same. TLOP is a weird choice (wouldn't even make my rap top 50) but at #26 it's hardly anything to get offended about.
I hate that I've been having to go to bat for Kanye as an artist recently, given his chronic foot-in-mouth disease and genuinely awful opinions, but c'mon now. None of these things are that far-fetched. put down the pitchfork (no pun intended), my friend.
both tracks these three have been on together are incredible, and all three are still getting better all of the time (Smino's Reverend from a few weeks back is one of my favorite rap records this year). this project has unreal potential.
I could tell that the dude rapped with a big-ass Gucci Mane smile just from his studio tracks, and seeing him live only affirmed that. shoutout to your AVI for booking him for Astroworld last year and double shoutout to the population of Houston for packing out his early set and making it a real hometown-hero-type show.
I've been all over 94 Camry Music, and I'm fairly sure I got the rec from you in another thread, so much appreciated! The title track is so great. also cosigning the JAGUAR rec, Supa Bwe is perennially under-acknowledged.
thank God you circled back around to that Sauce Walka tape - easily one of my favorite underground rap records of the year, and probably top 25 overall. "what that rollie hit for? / it damn sure ain't rose gold, look like it came from Citgo" & "plug calling me Kawhi how I drop the Bucks" are genuine laugh-out-loud punchlines, and I can't get enough of those. can't recommend it enough!
yeah I really can't understand how this passed through most of the editorial staff without any complaints. Teflon Don is easily his best of the decade and it still wouldn't be any higher than 190 for me. just inexplicable.
I feel I'm higher on Thom's solo stuff than most, but with that being said, I'd be a little miffed if I didn't get The Eraser OR Dawn Chorus. Dawn Chorus was made to be a encore track. Either way, great write up!
I don't think it's scolding so much as being upfront and honest about James' struggles, which if anything is productive in terms of the national conversation regarding addiction
this is absolutely true. I frequently wonder if people are listening to the same album as me. yes, All Mine has some of Ye's worst ever lyrics, but Yikes is a top 15-20 Kanye track and Wouldn't Leave, No Mistakes and Ghost Town all rule. it's a good album!
exactly. Doris was the entry point, and then IDLSIDGO felt like the next step towards perfecting a style fully his own. I get that he's probably always wanted to make music like SRS but MIKE (who Earl is friends with and a big fan of) is doing a much better job of making underground lo-fi rap without it feeling like a retread.
I have to get back to working on my list. I had to go back and do a year-end list for the first five years of the decade (I only started doing it comprehensively in 2016) and that really took a lot out of me but now that I have them assembled I need to get cracking.
you're not reaching - Earl was just the sum of his influences on SRS, rather than something greater than the sum of his influences on his previous work. If he wants to do more underground stuff now that's fine, I'd just rather he forge his own path within that sound instead of treading well-worn paths.
did you wake up today with the explicit goal of finding something to be upset about? cause that's the only way I can imagine you somehow taking offense to this comment
I’m praying this is sarcasm cause otherwise you are doing yourself a monstrous disservice (more on the Soccer Mommey front than DaBaby, but they both rule)
yeah I hedged my comment there so as to not over-broaden the topic of discussion, but I wholeheartedly agree. as someone who buys a lot of shoes and goes to a lot of concerts I frequently find myself at the whim of people with way more money and no gripes with screwing over others.
curious to know what led Warner Bros. to believe there is significant overlap between the group of people that loved Friends and the group of people that still enjoy listening to Meghan Trainor, particularly since the latter group is barely double digits strong
it's not even just a supply and demand thing - I've gone to plenty of concerts where I bought tickets for 1.5-2x face value that weren't even at capacity. it's a "I bought 20 tickets and instantly doubled their price so I am happy to let 25% of them go unsold since I'm still making a profit" thing.
...okay? I don't see how that's even remotely pertinent. you can only work with what you've got, and the band has to sell their tickets. I'm saying that the existing systems are bad and need to be overhauled.
definitely necessary to throw that ignorant remark at the end. very good way to start an honest discourse!
the systems can obviously still exist, it's the fees and the lack of oversight/regulations on reselling that need to be remedied. when I sell tickets to shows I can't make it to I sell them at face value - simply force others to do the same and the issue nearly evaporates.
making money via concert ticket arbitrage is one of the most despicable ways to make money in an economy full of them, and I hope one day music lovers will rise up and burn Ticketmaster, Stubhub and the like to the ground
big fan of slapping him with the title of "most famous snitch in the world". his entry into witness protection will be a huge win for rap fans, and a tragic loss for ""rap"" fans.
very jealous you got to catch him live - last time he came around I had to go be a groomsmen in some stupid wedding of some stupid beloved friend of mine. Your point about him being an elite soul singer is perfectly said as well - the depth and emotional resonance of his voice is absolutely mind-blowing, especially since he's still got so much power behind it even in 2019.
think I'm gonna go give Veedon Fleece a spin right now, talking about him has Cul De Sac stuck in my head again, for the thousandth time in my life.
I'm referring more to the fact that if you ask most casual listeners of that era about Van Morrison (let alone any modern day music listeners), the first and usually only thing they're bringing up is "Brown Eyed Girl", instead of Veedon Fleece or Moondance or *insert album of your choice here*. Most Veedon Fleece tracks have under a million listens on Spotify - if that's not a sign of not getting enough credit, I don't know what is.
Van Morrison should be considered one of the absolute best singer-songwriters of all time, and I rarely see him in those sort of discussions. Of course people on here or other music-obsessives love Van Morrison, but I don't really take heed of those groups when I say someone doesn't get enough credit, because we're nerds and not really representative of the general populace.
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