The Main Themes of the album is Kendrick’s journey and struggle with being pimped by the industry. Even if Springsteen has employed them sparingly in the studio in recent years, the band remains a tight outfit from frequent touring. Purportedly on the verge of suicide, a desperate, perhaps somewhat deranged Corgan penned “Today,” a facetious, goodbye-cruel-world lullaby that, when draped in the band’s trademark cloak of mellow fuzz, becomes a triumphant middle finger to the crippling effects of depression. to sound like an old Human League record, but I’ll readily admit that the evidence on display suggests he was the only one with the foresight to come up with some new old ideas, even if none of them work to Janet’s advantage. He was imprisoned to his environment and succumbed to being pimped. Alright tries to inject a spot of optimism into proceedings, but its chorus is undermined by the assemblage of vocals behind it, hitting uneasy harmonies, or being drowned out by muttering: similarly, the rival-smearing bragging of King Kunta sounds increasingly panicked, desperate and dark. Throughout the album, she talks to and interacts with a rather compassionate computer DJ named Kyoko, and her voice is robotic and synthetic on tracks like “Feedback” and the Daft Punk-sampling “So Much Betta”—not necessarily such a bad thing for an artist whose vocals often consist of unintelligible murmuring. It also analyzes reviews to verify trustworthiness. Even the dance numbers don’t stray from her topic of choice. You can still see all customer reviews for the product. @InspectahDUCK Oh and I started Liquid Swords, it was better than I remember it, I must’ve heard it at the wrong time. @UCanRlyGetSumIggyAzaleaOhU2BonnieFromKimPossible yeah u right, makes sense, @Killthat187 Thanks man, I like your avi, you look cute :), @Capraaegagrushircus mine isn’t even a review lol, but I’m glad you got inspiration from me :P. This is incredibly written. There’s perhaps no better testament to the power of Janet’s breakthrough album, Control, as a quintessential statement on personal and artistic self-actualization than the still pervasive misconception that it’s her debut, with 1982’s Janet Jackson and 1984’s Dream Street relegated to the singer’s “prehistory.” But while it should surprise absolutely no one that the quartet of albums that Janet released during her imperial phase handily top this list, her most recent effort, 2015’s Unbreakable, was an understated return to form, reuniting the artist with longtime collaborators Jimmy Jam and Terry Lewis. The Blacker The Berry 9.5/10
Ignore the fact that Kendrick is one of the most technically excellent and lyrically brave MC's still on the mic. ... Boo Boo! This sequel is a ratification of “bigger and better,” an example of steady improvement through impeccable craft. There's the same kind of frantic psychedlia in both albums, and they both have recurring ... One of the few overly ambitious albums which do it right. Nas That guy is also fortunate to have found his ideal compatriots.
This song is actually about Dave’s Killer from Sing About Me and how Kendrick is “abusing his power full of resentment” by fucking his girl several times, this is all revealed in the third verse and sets up the theme of U, which is one of the most emotional songs ever performed in hip-hop. It takes less than five minutes to unleash that eternal, pan-generic signifier of Serious Musical Intent, a burst of skronking jazz. Kristi seems aware of society’s history of ridiculing and undermining women for expressing their grievances in ways deemed too passionate or outspoken. Kendrick escapes temptation and makes it home. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Berninger seems to thrive under these lower stakes, as many of the album’s songs evoke a wistfulness missing from his work with the National. Kendrick sees that in the future “shit will hit the fan”. "To Pimp A Butterfly" is ambitious in its attempt to inspire a generation to change the world for the better and poignant enough to actually do so. On “Memaloose Island,” she visits the tomb of Victor Trevitt, where a disembodied voice tells her, “Life is the exception/Don’t you forget it.” The voice, of course, is her own, implicitly acknowledging the negative space around the comfort of marriage or any other source of stability. I dont mind your reviews when albums drop, you and @InspectahDUCK got the only reviews I care about, @InspectahDUCK @UCanRlyGetSumIggyAzaleaOhU2BonnieFromKimPossible @GodAmongstKings @GangstaOfLove @DarkThoughtsQueDreams @Guhsteh @Fuck_A_Bitch_Truck_A_Hoe @MrGreAtness @MBMIII @OpenMikeAguila @MirandaKerrYouCouldReallyGetit @ScopeY @ItWasKitten @OldSkewl @milakunisplssexme @NLbway @ToastfaceGrillah @AlbinoSniper @mattw116 @Wasalu @NastyEscobar1409 @XXXXXX @RuMoN123 @Black_Panther_JS @MyNamesCody @G0D @Mancas @arobie1992 @PsyQonaut @StuartMeiny @twrocks @Kasch @Samuelito @TPABGKMCSC80MBDTFLRGRADCD @Killthat187 @Maximus1 @MalcolmTeXtMartinLuthorKeyboard @Bat-Man67 @SkyArt @Versuhtility @Farixs Label: Merge Release Date: October 23, 2020 Buy: Amazon. TPAB is infinitely more political, and not intended as background music. To Pimp a Butterfly was born of this guilt, but it was emboldened by the deaths of Michael Brown and Eric Garner—by the heightened awareness of what it means to be black in America. We took a look back at the icon’s catalog and ranked all 11 studio albums from worst to best.
Like him, he has a lot to say, but willfully obscures his intent perhaps out of the great wisdom of his fallibility, or maybe just because he knows there aren’t any easy answers to the questions he’s asking. Swiftly, though, we’re in deep. 21 is more often than not the stabilizing force around which Metro paints and creates elaborate designs. It’s not completely without precedent in rap, existing in the same general vicinity as OutKast’s Stankonia, or the Roots’ most ambitious work (Things Fall Apart and Phrenology), and its jazzier passages find a kindred spirit in the ‘90s group Digable Planets’ Reachin’ (A New Refutation of Time and Space). 1.6M 659K 453K 720K Home Though the Mountain Goats’s music still operates firmly within the folk-rock tradition, a few songs here display a jazz influence, such as the light-handed tapping of tom-toms that weaves throughout “The Great Gold Sheep,” the featherweight percussive scene-setting at the beginning of “Bell Swamp Connection,” and Matt Douglas’s noodling saxophone on “The Last Place I Saw You Alive” and “Get Famous.” You can also hear a jazz sensibility in the band’s penchant for finding grooves and then departing from the structures at different intervals. Wesley’s Theory is from the perfective before S.80 and GKMC, where he fantasizes about his rap destiny.
Annie broke out in the mid aughts with cheeky, indelible dance-pop like “Chewing Gum” and “Heartbeat,” but Dark Hearts luxuriates in an unapologetically moodier palette. Which is why some of the songs on Letter to You are disappointingly mushy by comparison. Hey all, The idea of “getting out of the ghetto,” a concept so many rappers strive for, left him with what he terms “survivor’s guilt.”.
Jazz is a brave place to go, even for a man from Compton. Producer Stefan Storm outfits Annie’s bittersweet reveries with big, bellowing drums and textures derived from pitch-affected vocals. Whether playing 50-year-old songs or brand new ones, the E Street Band proves that when they’re in their element—as they are on this album—they can elevate the Boss to his best. In the case of 27-year-old rapper Kendrick Lamar’s third album, To Pimp a Butterfly, however, game-changer might actually be an understatement. Janet was clearly still finding her voice, but the snappy backing track of “Say You Do” could easily have slotted into the Jacksons’s 1980 album Triumph, and “Young Love” has the confident pristineness of a Patrice Rushen jam. It’s testament to the skill of Lamar and his various producers that To Pimp a Butterfly never sounds like that. The songs leap from genre to genre, sonically tied together by their connections to the past: “The Streets Where I Belong” suggests the small-town tributes of Springsteen as sung by an anonymous dream-pop chanteuse, while the poetic “Corridors of Time” and the deceptively jovial “It’s Finally Over” channel classic pop modes like doo-wop and ‘50s girl groups. The album is a ratification of “bigger and better,” an example of steady improvement through impeccable craft. Kendrick is now rapping from his perspective on GKMC, if you were to parallel Tupac, it’d be Pac during Me Against The World when he was in prison.
This album is so bad! While she pointedly entertains the pejorative “emo” in the title of the introspective ballad “Emo Song,” she nonetheless refuses to understate the origins of her trust issues: “You call me up, and lie again/Like all the men I used to trust.” Throughout the album, Kristi leans into her emotions, unconcerned about whether or not they might make her seem fragile or melodramatic. The rest won’t. Considering the significance and influence of Kendrick’s predecessor Tupac, he was parallel to Kendrick early-on and saw himself as King Kunta. It’s no surprise that the guy who wrote the songs featured on Letter to You became one of rock’s most celebrated storytellers once he discovered his own individual voice.
And yet, there’s little doubt that the group is much more than some also-ran grunge outfit chasing Kurt Cobain’s shadow. Not much more to say man. The first was warped both on the album jacket and the records themselves (the second LP was so warped there must've 1/4" difference in needle height at different points). After the rain, comes the sunshine and Kendrick picks himself up on “Alright”, arguably the catchiest song on the album and the closest thing to a banger you can get on here, it’s a great follow-up to U, where Kendrick is trying to justify his depression and convince himself it will be “alright”. The next track on the album. I hated this album so much!
Can we really do anything more than once?” intones actor Morgan Freeman early on in Savage Mode II. You Ain’t Gotta Lie (Momma Said) 9/10, i was a song that got some flack when it was initially released. Against a backdrop of hopelessness brought about by personal heartbreak and global disasters, the album is an act of self-preservation. When one does appear, it’s usually short-circuited by the weird, non-linear song structures, or sudden, jarring mid-track musical shifts, as if it’s being presented to the listener, then snatched away. Kool Keith’s solo debut, underground classic. The music video for “Positions,” which was directed by Dave Myers, finds Ariana in the role of president, dressed in Jackie O-worthy duds and effortlessly juggling both affairs of state (with an all-female cabinet, natch) and business in the bedroom. – Interlude is one stunning, sax-led jazz scat in which Lamar enunciates “this dick ain’t free”. Booker T. Jones’s production brings ornate dimensions to these songs. This represents Kendrick shortly after he visited Africa and Nelson Mandela. The song boasts some dope instrumentation, that of mid-90’s Snoop, Dre and Tupac but lacks.
It’s raw, emotional, cinematic, real. And when everybody on the entire website has said more than you can possibly even say, sometimes you just have to say, "Yeah, I agree.". I think it's about time I add my drop into the sea of perfect scores this album has accumulated. Janet Jackson’s music career can be easily partitioned into three eras, with her commercial peak (from 1986’s Control through 2001’s All for You) bookended by her early, pre-breakthrough period on one side and the years following her infamous Super Bowl performance in 2004 on the other.
It certainly makes the case that the album as an art form is alive and well. The album has all the familiar hallmarks of the E Street Band’s signature sound. It’s common to hear musicians, especially rappers, brag that their latest effort is a game-changer. The band’s uniquely existential and observational approach to rock is, for the first time, beginning to wear thin.
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