Gerald Gillum, better known by his stage name G-Eazy, has sure come a long way since dropping “Runaround Sue” a couple years ago. Though he carved a nice little niche for himself by sampling doo-wop during The Endless Summer era of his career, he’s hasn’t hesitated to quickly and effortlessly evolve his sound with each successive release.
On his newest cut, “Almost Famous,” G finds himself reflecting on his steadfast rise in popularity since his first breakout single, asking himself, how long can this go on for?
I’ve always been a huge fan of this Bay Area spitter’s uber-cool style, and this video encapsulates his steez rather nicely in its creative direction, which superimposes Mr. Gillum on life-sized magazine covers.
Stream the song and it’s visuals below, and appreciate a nice little cameo by Devon Baldin‘s boobies.
Our good friends over at P&P sponsored this awesome new mashup mixtape from Jonathon Lee that features two of my favorite bawses. The Big Boss Rick Ross lyrics thrown over the original Boss, Bruce Springsteen? Unbeatable. Jonathon Lee recreates instrumentals combining his own beats and the original instrumentation from Springsteen’s classics “Born to Run,” “Streets of Philadelphia,” “Blood Brothers,” “Secret Garden,” “Murder Incorporated” and “Atlantic City.”
Bruce is one of my all time favorite artists, and I’ve got to give kudos to Lee for using the tracks he did, especially “Streets of Philadelphia” and “Atlantic City.” Something about hearing Ross rap over Clarence Clemons’ beautiful sax is just perfect.
Kinda wish he had sampled “Jungleland,” but an all around awesome concept has been incredibly well executed by Jonathon Lee–I haven’t liked a mashup in a long, long time, but Lee’s cemented the genre as dope and legitimate, if done correctly.
Quaint, subtle, and full of nuances, Jon Bell gives me a really similar vibe to Iron & Wine. Really understated, Bell has the ability to have a gripping effect on you as you listen.
Out of Arlington, Virgina, Bell is a really promising up and comer on the indie folk scene, and I’m excited to see hear his upcoming album, which “Fade” will be featured on.
Ah, the magic that can happen when two stoners combine forces. It’s not exactly a surprise that Wiz and Domo “Mr. Smoke a Lot of Pot” Genesis love their marijuana, so it shouldn’t be a surprise that these two finally came together to make some music.
There was potential for a slight beef when Wiz released his album “Rolling Papers” after Domo had already released his “Rolling Papers” mixtape, but the two have apparently put it in their past.
It’s really cool seeing Wolf Gang members starting to work with bigger names, and this is definitely a trend that will continue…I, for one, am completely anticipating some work between Tyler and Kanye. Call it a longshot–I call it inevitable. Kanye loves pushing buttons and pushing boundaries, and Tyler is clearly well rehearsed in those two departments.
Can you imagine the kind of shit they’d put out together? Sound off in the comments if you foresee any other upcoming collaborations with OF members, and let me know how you feel about Domo working with Wiz.
Can’t be a king if you’ve got a castle made of sand/ I take it bit by bit, I’m gonna make it stand/ These niggas never had a chance/ Snowball effect, keep it rollin’ make it avalanche
Cardo on the beat.
Taylor Gang. Wolf Gang. Baw baw baw.
More solo Aer for us to enjoy on this fine Thursday evening? Ah, what a damn treat.
This one’s a remix of Rihanna, which I guess is normal considering Reeves remixed Soulja Boy? Whatever. They do it.
This one’s more fit for a party than a bonfire, and it’s not the first time the boys from Aer have tackled a house beat–they went over Avicii for “Shot Clock.”
Not necessarily a potent or meaningful track, but a fun one nonetheless. Enjoy.
Carter, aka Reeves, of Aer has released a solo track, a remix of Soulja Boy. Aer remixing Soulja Boy? Interesting. Very interesting.
Carter’s smooth flow works perfectly over this extremely smooth Soulja production, and any new Aer is a positive thing to me. Really looking forward to their new project, and I think we can expect a solid slew of singles to tide us over until the project drops. Carter’s got a great voice and a really strong ability to switch up his flow, and this song is a great testament to that.
New one from Chip, produced by the monster Lex Luger.
Not sure if I’m a huge fan of this one, maybe that’ll take a few more listens, but I am a huge fan of both Lex Luger and Chip Tha Ripper so I had to post this one.
Chip just had a song (who, I might add, he literally named “Cash”), and expect the Cleveland native to drop his new tape, Tell Ya Friends, very soon.
I’ve never listened to Rockie Fresh much, but I’m a big fan of Casey Veggies so I wanted to check this one out. Well, I quickly realized that I should download more Rockie Fresh. Both of his verses are really dope to me, and I like his flow. He has nothing on Casey, though, who sounds mean while simultaneously remaining an aura of untouchable chillness.
Rockie’s new tape drops January 23rd, so we’ll be hearing more from him in the near future. Looking forward to it.
Veggies. Like UNGHHH
Gift of Gab, of Blackalicious fame, is, in my opinion, a canonized rhymesayer. One of the emcees nobody knew can replicate or replace, one of the emcees that is truly just on the upper echelon and always will be. So, seeing a new release from him was pretty exciting–kind of like The Shins the other day, it feels weird when someone you grew up with but haven’t heard from in a while releases a new track or project.
This track starts with Samantha Kravitz, a singer I have never heard of but really enjoyed. She adds a really great hook to the song, and you can hear her soulful voice come in and out with some doo-woops throughout Gab’s verses.
“Emcees come and emcees go/ Street cred big but they can’t blow/ Please respect my protocol/ One by one I’ll drop them all/ Just call me a conscious fool/ Who rhymes circles around you/ Please respect my protocol/ One by one I’ll kill you all”
Gab’s flow on this track is almost dumbfoundingly good; he just keeps going and going, with intricate rhyme structures that seem to always build off of one another, changing up yet always adding to itself. To me, in a lot of ways his opening line is a perfect, and honest, introduction;
“Party people you’re about to witness something you’ve never heard before/ Thank y’all for listening“
This is a pop rap track–it has poppy production and a poppy hook. But you cannot say that Gab sounds anything similar to your typical, popular rapper. His flow is interesting, his rhyme structure is complex, and his lyrics are meaningful. He knows this is a pop sounding track–his introduction, to me, functions as a subtler, perhaps politer way of saying; “listen up, mother fuckers. Those rappers you’ve been listening to suck. Let me show you how it’s really done.”
Hoping to see a lot of new Gab in the future. He is forever a hip hop legend.
This one took me by surprise when I saw it tweeted out by Confusion over at Pigeons and Planes. I was immediately excited; I haven’t heard new music from James Mercer and the Shins in longer than I can remember, other than Mercer’s work with Dangermouse on Broken Bells. It’s been five years since the last Shins project, and any new Shins music is really exciting for me. Port of Morrow, their new album, is set to release on March 20th on Mercer’s imprint label. I’ve been a Shins fan since their first album, Oh, Inverted World, and songs like A Comet Appears, Caring is Creepy, Australia, and Sleeping Lessons remind me distinctly of memories throughout my life. Music always has an interesting ability to stir up old memories, of people and places remembered or forgotten, in a way that almost no other art can.
We Will Become Silhouettes, a cover of Ben Gibbard’s Postal Service’s song of the same name, reminds me of driving around my hometown when I first got my driver’s license–makes me miss early fall in Chicago. This one’s a little more “Know Your Onion!” than “New Slang,” which can sound a little annoying if you’re not in the right mood, but Mercer’s still got it and I dig the straightforwardness of the song, aptly titled “Simple Song.” The fast guitar riff that plays at times throughout the song is pretty awesome, kind of showy in a Queen-esque manner. I can’t stop wanting to compare the Shins to this millennium’s answer to Yes–does anybody else see that?
Last night, Reef of Fortune Family and Dylan Owen released a video for their newest collaboration, entitled “Dreams.” With video production by the notorious Jon Kilmer and audio production by the relatively unknown, albeit really skilled, August Coupe, this is one of Fortune Family’s best releases to date, and Dylan Owen has gained a new level of respect in my mind as well. The track centers around insecurities and issues found in relationships, with both rappers speaking very honestly and openly about their experiences and feelings–something I unfortunately am seeing less and less with up and coming rappers. Grace Kelly, the singer on the hook, also provides an amazing hook, supplementing the sound of the rappers with her honeydipped vocal chords.
The video is also particularly impressive. While most rap videos these days center around landscape shots simply for the sake of being visually appealing, this video centers around a more conceptual theme, as is evident by watching it.
Perhaps I’m biased, but I think this track really cements both Reef and Dylan Owen as some of the most promising up and comers in the blogosphere.
Sound off in the comments if you agree/disagree.
I’ll never let her go, and she’ll never be forsaken/ If the dreams don’t pan out, fuck it I still tried/ Me and hip hop, forever you and I
Well, damn. This is our last single off of Oncue’s “Can’t Wait” project which drops tomorrow, and this one is huge. Featuring super dope production from 88-Keys, this one’s got a really great little piano/bass/guitar groove to it. A little funk, a little jazz, a little Posner, a little Cuey…what more could you ask for?
I was talking to Cuey over email the other day, and it’s crazy to think about how far dude has come–I remember interviewing him last December when he was nowhere near what he is today, both in terms of recognition and in terms of quality, and it’s awesome to see his progression. The fact that Posner’s verse is easily the worst part of this song speaks volumes about Cuey, and I think signals his ability to have widespread pop appeal.
Posner’s on here, and he still chooses to use his own voice on the hook–what? Yes. Awesome. Killed it. #CantWait
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