For 2016, I’m going to try to get at least 2 posts a week, hopefully more. That means more Shots of That 100 Proof vs lengthier pieces. Which makes sense given that I have a hard time writing long pieces for music about which I have little to say. And that’s what is most often released. Hopefully that plan agrees with you. I’m not trying to simply get more “content” online, I want to say what I think about as many things as possible, and not every release deserves 1000+ words.
Stalley is best when talking about cars and/or drinking lean. This has been documented on Honest Cowboy. His ability to do other things was documented on his disappointing album, Ohio, where he ignored his slowed-down roots for the sake of blasé-ass hip-hop. Where I once thought that Ohio was a creative blunder, I not think that label expectations inspired that poor direction, because Stalley is right back to his old tricks on this likely expectation-less mixtape, The Laughing Introvert. Continue reading Shot of That 100 Proof: Stalley – The Laughing Introvert;→
I didn’t love Joey’s 1999 mixtape, but I felt good enough about it and his performance on other songs that I planned to try Summer Knights too. I’ve been playing it off and on for a few months, trying to figure out this attitude of meh that I couldn’t escape. One of the reasons for this deliberation is that, despite what my writings might imply, I don’t like being negative. But more importantly, I feel like there’s something here that I’m not understanding, and once I get it the “meh” will be replaced by a stronger feeling.
This site was founded years ago by broke slaves as a way for me point out what’s good and bad about music. A sort of written form of the “did you hear _? Well what’d you think of it?” conversation. So my intention isn’t to provide consumer-centric reviews, but I would like to stay somewhat current. But because I can’t manage to work on it religiously, and because there’s just so much hip-hop to digest, it ends up being a log of the semi-random albums that I am playing at any moment in time. Case in point: Black Milk released If There’s a Hell Below only a month and change ago, yet I’m writing about his album from October last year, No Poison No Paradise. I do plan on getting to the new album, but knowing me, that won’t happen until sometime next year. Currency is overrated!
After the infinite goodness that is Pinata, I’ve decided to take on the semi-project of Freddie Gibbs’ back-catalog. These pieces will be pretty spaced out because my to-do list is dumb-long. And they’ll likely be short, because I doubt I’ll have tons to say about years-old releases. I’m starting with The Miseducation of Freddie Gibbs off Dave’s recommendation.
I had almost no idea of what I was walking into, and I’m somewhat disappointed.
Props to Dave Tarantino for the heads up on this. This will be a real shot this time, as opposed to the 800 word essays I call “shots” just to ease away from my self-imposed requirements on how thorough a “review” should be. Also, I started this piece days ago but couldn’t finish before moving over the weekend and I’m just now settled enough to finish this. Another review should be coming in a day or two. Sorry for the content gap.
Czarface is one of those mash-ups that’s a backpack hip-hop head’s wet dream. One of the sharpest Wu-Tang spitters connected with the unfailing underground creators 7L and Esoteric, for an album consumed by East Coast sounds and complex lyricism. Totally consumed. TOTALLY! There’s nothing else here!