Bad news, Australian fans of rappers who like to rant atop digital mountains: You’ll have to wait until September to bask in the glory of Kanye West’s Yeezus tour. But the good news is he’s taking that time to finish a new album, if you’re into that sort of thing.
Tag: Hip-Hop/Rap (41-50 of 882)
Alicia Keys spins a web with Kendrick Lamar and Pharrell for 'Amazing Spider-Man 2' song 'It's On Again': Hear it here!
Andrew Garfield is about to swing back into cinemas clad in the blue and red spandex in The Amazing Spider-Man 2, which opens on May 2. But before that, the soundtrack to the movie will arrive in stores — and now we have its first official single.
When Wu-Tang Clan does something, they do it all the way. Case in point: The group’s crazy secret new album strategy that the world learned about yesterday in an extensive Forbes story.
As the product’s official website indicates, the legendary rap team’s stealthy new record is called The Wu – Once Upon a Time in Shaolin. There’ll only be one copy of the album… like, ever. It’ll be grandly “presented in a hand carved nickel-silver box designed by the British Moroccan artist Yahya,” and yes, it looks as fancy as it sounds. Before that one copy is sold, though, civilians can listen to the album when it embarks on an ambitious tour of museums, galleries, festivals, and other such happenings around the world. Then after that, the item will go up for sale, with an expected price range somewhere in the multi-millions.
Deep breath, guys:
Hot off the heels of re-christening himself Puff Daddy, the man born Sean Combs (also known as Diddy, P. Diddy, Puffy, Shiny Suit Man, One of Dave Chappelle’s Best Impressions, and that guy who is always on top of the Forbes Richest Musicians List despite not making very much music) has a new single called “Big Homie.” It was supposed to drop on Monday, but the streets couldn’t wait, as they say.
“Big Homie” features French Montana and Rick Ross, and the latter is clearly the biggest influence on Puff’s current sound: It’s big, it’s badass-sounding, and it leans into that signature monster plod. But while Ross’ penchant for rapping just behind the beat always sounds like a conscious decision (not even the power of rhythm can move the Bawse), Puff just sounds slightly inept (which is a pretty accurate description of his career-long rhyme style). Everybody is going hard, but by surrounding himself with high-impact blasters in Montana and Ross, Puff highlights the oomph his rapping has always lacked.
Still, “Big Homie” is a reasonable enough return to form for Puff Daddy that it should spark plenty of curiosity for his upcoming album MMM. And props to him for that line “The only one that’s topping Forbes/I’m getting lonely.” Listen to “Big Homie” below.
Twenty years ago this spring, Warren G released Regulate…G Funk Era, a triple-platinum album that helped enshrine the louche, laid-back sound of West Coast hip-hop—“funked out with a gangsta twist,” as his homey Nate Dogg put it. But that era soon fizzled, and after Tupac was killed in ’96, the California scene met with a different funk: years-long commercial doldrums. Only the Game, a Dr. Dre protégé whose three No. 1 albums are thick with early-to-mid-’90s nostalgia, broke through in the meantime. But the gin-and-juice hangover finally seems to be lifting, as gritty California rappers sidestep or reinvent G-funk and barge back into the mainstream.
Earlier this month, South Central L.A. rapper Schoolboy Q went to No. 1 with his shadowy, ferocious third album, Oxymoron. As the resident gangsta in the Black Hippy collective led by Kendrick Lamar—last year’s most obsessed-over rapper—Q brings a sharp new ambivalence to Tupac’s idea of the thug life. He raps not only about dealing Oxycontin but also about becoming addicted to Xanax, Percocet, and Valium. On the harrowing “Prescription/Oxymoron,” he even splices in a recording of his young daughter trying to wake him from a drug stupor.
If the dazzling shape-shifter Kendrick is on L.A.’s frontier, the gruff, brutally honest Schoolboy Q represents the West Coast’s uncompromising core. “Real Crippy since I hopped off the swing” is how he sums up his early gang links on “The Purge,” which deliberately teams him with ’90s California notable Kurupt and Odd Future’s Tyler, the Creator (whose crew remains more underground, breakout R&B star Frank Ocean aside). Still, Q doesn’t take himself too seriously: On “Studio,” Oxymoron’s wry love song, he skips the sex “metaphors” and explicitly mimics what else he can do with his tongue.
When YG (pictured)—a Compton upstart with a rugged major-label debut, My Krazy Life, and a long simmering top 20 single, “My Hitta”—reveals his romantic side, he’s no less blunt or amusing. “Do It to Ya” borrows its pillow talk from the playground, and its convivial groove from “Let’s Play House” by Tha Dogg Pound. YG’s less evolved than Schoolboy Q, who guests on Krazy along with Kendrick and big names including Drake and Jeezy, his mentor. But he’s a vivid, unflappable MC, bolstered by key L.A. producer DJ Mustard, the buoyant minimalist who also worked up Tyga’s 2011 smash “Rack City.” If there’s a Compton sound right now, this is it.
The Bay Area’s just as crucial to West Coast hip-hop, of course. 100s, a permed pimp-rap revivalist from Berkeley, pays tribute to Too $hort on the silky, slightly ridiculous mixtape Ivry. But the region’s latest star is the 21-year-old rapper-producer Sage the Gemini. Remember Me, his club-tailored major-label bow, shores up his two radio smashes, the stripped-down twerk anthems “Red Nose” and “Gas Pedal,” with a stream of pulsing beats and drowsy vocals. “I’m trying to keep this here alive,” he raps, calling himself “the Bay’s respirator” on the (actually pretty great) Justin Bieber remix of “Gas Pedal.” But this isn’t thug life support. The California rap contingent has birthed a whole new era.
RiRi and Eminem will be rocking stadiums together this summer for The Monster Tour, named for their single off The Marshall Mathers LP2. Here’s that moment, in case you forgot: READ FULL STORY
How hot can it possibly get?
A radio station in San Fransisco has been playing Nelly’s 2002 hit “Hot in Herre” on an endless loop since Friday afternoon. And not because a DJ has gone insane: The loop is part of a publicity stunt. Monday night, the Univision-owned Latino Mix 105.7 is relaunching as Hot 105.7, RadioInsights.com reports. Once the switch happens, the Nelly flashback will stop.
The “Hot In Herre” loop has inspired the hashtag #Nelly1057, which Nelly himself has naturally jumped on.
If you’re not in the Bay area, never fear; put a band-aid on your face and relive 2002 below: READ FULL STORY
The Syracuse hardcore band Perfect Pussy won the lion’s share of SXSW’s cool-kid attention. Destruction Unit put on some of the week’s most raucous shows. Bigger bands (well, relatively) like Speedy Ortiz, Cloud Nothings, Parquet Courts, and F—ed Up went above and beyond to put on a slew of killer parties.
But who cares about that crap, because Rick Ross has the No. 1 album in the country!!!! Did you know that Rick Ross has the No. 1 album in the country? If you didn’t, he and his hype man at the Fader Fort last night made sure to remind everyone over and over. And over.
As has been the trend for a few years now, Big Rap turned SXSW into its own game. The festival’s closing night drove that point home: Ross celebrated his chart-topping new record Mastermind by headlining Fader, A$AP Mob and Mobb Deep capped their own busy weeks at 1100 Warehouse, and 2 Chainz took over a showcase at Brazos Hall.
Clearly, it was a rap-heavy schedule, and that’s not even counting Jay And Kanye’s Samsung event Wednesday night or the shows by Future, Pusha T, Kendrick Lamar, Big Sean, B.o.B., Nas, and, um, Ludacris.
After a long few days of indie rock, mixtape rap, pop stars playing small, and smoked meat, it was time to put a bow on the annual South By Southwest festival.
The schedule for Saturday night was strange. In the past, Saturday night shows have always been the biggest, but this year, a number of bands had already left town, and with the likes of Lady Gaga, Coldplay, and Kendrick Lamar having wrapped their high-profile performances, it left a hodgepodge of mid-level indie and hip-hop to send everyone off.
Enter Phantogram, an excellent computer-pop combo whose new album Voices gently nudges their sound towards an even wider audience than the one that picked up on their first buzz-band moment several years ago. Like an overwhelming number of the acts booked at SXSW, they are big enough to get booked on late-night TV but not quite big enough to be played on pop radio or fill larger venues. For a band like Phantogram, a solid showing at SXSW could mean an elevation to that next level. READ FULL STORY
Sick of all the under-dressed ladies that rappers like to have decorating their sets like sexy lawn ornaments? So is Jennifer Lopez.
That’s why she decided to put men in tiny bikini bottoms, slather them in oil and perch them around the pool. No, I’m not (just) describing her home life: It’s J. Lo’s new music video!
On American Idol Thursday night, Lopez unveiled her video for “I Luh Ya Papi” — a clip that turns the tables on rap video stereotypes. And it’s pretty glorious. At one point she’s on a yacht, pouring champagne in some guy’s Speedo. This isn’t exactly moving us past the sexual objectification of music videos, but it sure is fun to watch:
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