Category: Music Review

The best songs on Ty Dolla $ign and Jeremih’s MIH-TY

“FYT”

ty dollar

I’ve been praying for the moment this tape would drop officially since this 2016 interview with Jeremih. Thank you R&B gods for making this happen! These two are well-known for making certified radio hits and R&B cuts that ride, but they’re at their best, in my opinion, when they lean into the sensual. “FYT,” their flip of Biggie’s “Fucking You Tonight,” is the perfect, smoldering example of this. Their. Runs. Phewwwwwww! (Also, no offense, but if anyone has a French Montana-less version of this, please hit me up.) —NAZUK KOCHHAR

I think straight men should be banned from having sex until they can collectively get their shit together, but Jeremih and Ty Dolla $ign’s “The Light” makes me briefly reconsider my position. It’s really Ty belting out “Let’s have sex” in the song’s hook that just sounds so right. Jeremih pulls his weight, too, matching Ty’s seductive power with his own brand of unapologetic horniness. Mih and Ty both sound super comfortable over a sample from Keni Burke’s “Risin’ To The Top.” That song has helped power good sex songs — like The Mary Jane Girls’s “All Night Long” — for the last 30+ years and MihTy’s is a welcome addition to the canon. —MYLES TANZER

“New Level”

“New Level” seems like the most surefire “hit” on the album. The song was originally released as a single with a guest verse from Lil Wayne but, on MIH-TY, it’s just Jeremih and Ty, going back and forth for a perfectly concise two minutes and thirty seconds. Building off a Dru Hill vocal sample, “New Level” fulfills the original promise of the collaborative album: two masters of melodic thottery bringing out the best in each other. Jeremih’s bridge on the song recalls some of his best Late Night-era runs, as he sings in a sultry whine about wishing he was a mind reader. Together, they sing about vaguely advancing a woman’s life should she choose to fuck with them. It’s a classic Jeremih/Ty premise and one that, when they harmonize, sounds pretty convincing. —BEN DANDRIDGE-LEMCO

READ MORE: https://www.thefader.com/2018/10/30/mih-ty-jeremih-ty-dolla-sign-best-tracks

The Playlist: Cardi B Hits Pay Dirt, and 11 More New Songs

Screen Shot 2018-10-30 at 5.08.12 AM

Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos — and anything else that strikes them as intriguing. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.

What’s the opposite of a palate cleanser? Currently, Cardi B is featured on the No. 1 song in the country, Maroon 5’s “Girls Like You.” It is not her best, nor most apt work. So here comes the palate roughener? “Money” is effectively a stripped-bare version of BlocBoy JB and Drake’s already-bare “Look Alive,” and a de facto lo-fi rejoinder to Cardi B’s steady pop incursions over the past year. The trash talk here is pure, if a little staid: “I like boarding jets, I like morning sex/But nothing in this world that I like more than checks.” Instead, “Money” — the first solo single Cardi B has released since giving birth in July — is notable for its acknowledgment of new-mom problems: “I got a baby, I need some money, I need cheese for my egg.” JON CARAMANICA

 

Review: Lil Wayne’s “Tha Carter V” Does His Legacy Justice

There’s a special ambiance that permeates the air whenever Lil Wayne drops a Carter project. It’s a remarkable occasion seeing that none of the projects hold a classic album distinction in the traditional sense.

But that’s because Lil Wayne doesn’t adhere to any traditional rap guidelines. His place in Hip Hop’s pantheon can be difficult to outline in words but it’s without question he was a trendsetter for paving the genre’s entry in viable mainstream acceptance. With his penchant for taking studio mastered melodies and completely adopting them with his own zany flow, his relentless flooding of the mixtape circuit found him planted in the eardrums of millions at a different entry point. And the industry official Carter albums would live on to be a place where his multitude of fans could convene on the same accord.

And despite being seven years, 30 days and an infinite amount of trend changes since the release of the last Carter drop date, the kicker this time around is the music is simply just good.

Like all of its previous installments, Tha Carter V is a mile-long, bloated package of unpredictable zest that’s light on introspection (not to discredit Momma Carter’s impromptu interludes over the course of its 87 minutes). Yet its allurement lies in the fact that “Mixtape Weezy” and “Carter Wayne” are able to co-exist with ease.

There’s the Swizz Beatz-boosted “Uproar,” which employs the same Moog Machine sample popularized by G-Dep and Diddy at the top of the decade that gives the album a DatPiff feel intertwined with soul-drenched records like “Demon,” a quasi-Gospel cut that actually gives Wayne maturity stripes.

Even with his elder statesman status, it isn’t hard to hear Wayne’s influence has transcended a couple of generations. Travis Scott cooly incorporates Astroworld inside Weezyana on the “Let It Fly” rager, Kendrick Lamar showcases he’s a rap martian descendant on the long-awaited pairing “Mona Lisa” (ditto for XXXTENTACION, who sheds light on what could have been with his haunting performance on “Don’t Cry”) and even daughter Reginae Carter impresses with her chorus on the reflective “Famous.”

Reviews: T.I. Hits Benchmark With “Dime Trap” Album

 

T.I. has often compared himself to 2Pac, and the claim makes sense in that both have touched on enough topics to fill 100 Wikipedia pages. Tip’s 10th proper album, Dime Trap, loudly silences any concerns over what he has left to say. The album functions as a compelling retrospective of T.I.’s life and career while proving he’s far from finished.

Billed as a “TED Talk for hustlers,” Dime Trap‘s thug motivation qualities are evident. “Looking Back” finds the Rubberband Man giving hustlers and civilians some tough love: “Tell me what you gon see when you looking back at yo life/Won’t be worth a damn if you ain’t living it right.” His words could easily come off as judgmental if Tip weren’t so transparent about his old hell-raising habits: “In Vegas, fightin’ police, me and Jeezy and ‘em/Hit the strip, Fatburger, did my thing again/All I do is kick back, blow gas and smile/Reminiscin’ ‘bout the days I was young and wild.” Tip’s front-porch reflections position him as the elder statesman he’s become and imbue Dime Trap with a sense of well-earned wisdom.

5 Hip-Hop Artists That Went Against Industry Norms to Achieve Success

Screen Shot 2018-09-16 at 9.17.33 AM

Hip-hop has never been about following rules. From the genre’s birth in the late ‘70s to today’s explosion of innovative pop-rap superstars, the music has always rewarded audacious creativity and outside-the-box thinking. While hip-hop has gone mainstream and become the world’s preeminent form of popular music, there are still artists working outside of industry boundaries and refusing to let labels, managers, or anyone influence their art. Below, we give props to five uncompromising artists who’ve found their own lanes and chased greatness on their own terms.

Dessa: A Multifaceted Artist with a Singular Voice
Before launching her career as a rapper, singer, spoken-word artist, author, and Doomtree label head, the Minneapolis native born Margaret Wander worked as a technical writer for a medical company. In a sense, she’s come full-circle with Chime, the critically acclaimed album she released in early 2018. It’s Dessa’s fourth collection of smart, soulful alternative hip-hop songs, and it was inspired by a project whereby she collaborated with neuroscientists to pinpoint the exact part of her brain dedicated to romantic love. Chime is just the latest example of how this one-time philosophy major has challenged the idea of what a female hip-hop artist can be. In a 2018 interview with Billboard, Dessa shared her secret for having such a rich and varied career: “I worry a little bit less about trying to forestall people’s opinions and just try to do good work.”

Cardi B: A Personality Too Big to Fail
By the time Cardi B topped the Billboard Hot 100 in 2017 with “Bodak Yellow,” the Bronx native was already on her fourth career. In the years leading up to her musical breakthrough, Cardi went from stripping to making viral videos to stealing scenes on Vh1’s Love & Hip Hop: New York. All of those pursuits showcased the qualities that would make Cardi one of the most exciting new rappers of the ‘10s. Cardi is sexy and funny, outrageous and vulnerable, tough as hell yet instantly loveable. Her excellent 2018 debut album, Invasion of Privacy, reached #1 on the Billboard 200 and silenced critics who thought she’d be a one-hit wonder. Invasion of Privacy has spawned a second chart-topper, the Latin-flavored “I Like It,” which you’ve surely heard blasting from cars all summer. While pregnancy kept Cardi from touring in recent months, motherhood is only going to make this vivacious truth-spitter a more compelling artist in years to come.

Tyler The Creator: More Than Just a Troublemaker
When the Odd Future collective came on the scene in 2010, nobody knew what to make of them. The blog-hyped L.A. rappers became infamous for their offensive lyrics, chaotic life shows, and unwillingness to play by anyone’s rules. Leading the pack was Tyler The Creator, a multifaceted troublemaker who’d spend the next decade revealing his genius. In addition to overseeing numerous Odd Future releases and four solo LPs — including last year’s Grammy-nominated Flower Boy — Tyler has directed music videos, launched his own Golf Wang clothing line, and spearheaded the Camp Flog Gnaw Carnival music festival. Tyler’s extracurriculars make it easy to overlook his rapping, but the fact is that he’s a stellar MC with the power to make you feel all sorts of ways. On Flower Boy, Tyler surprised everyone by serving up his most mature, confessional lyrics to date. Tyler sums up his career perfectly on the song “Who Dat Boy,” asking, “Who dat boy? Who him is?” The world will be chewing on those questions for quite a while.

Curren$y: The Underground Hero Who Never Lets You Down
The New Orleans rapper born Shante Scott Franklin knows how the big boys operate. He signed with Master P’s No Limit label in 2002, then struck a deal with Lil Wayne’s Cash Money Records in 2004. Curren$y appeared on Weezy’s Tha Carter II in 2005 and dropped the minor hit “Where Da Cash At” the following year. Neither of those projects quite made him a star, so in 2007, Curren$y jumped ship to the independent digital-only Amalgam Records and rebranded himself as a niche underground artist with an ear for consistency. In 2011, Curren$y, a.k.a. Spitta, formed Jet Life, the label he’s used to launch some of his many, many, many projects. Free of major-label interference, Curren$y has amassed a massive discography that includes eight studio albums and more than 40 mixtapes. More importantly, he’s built a devoted fan base that comes to see him perform live year after year. Spitta’s not going to break streaming records like Drake, but he’s a dependable artist in an age of disposability.

Chance the Rapper: The Superstar Who Gives His Music Away
When Chance the Rapper picked up the Grammy for Best Rap Album in 2017, it was notable for two reasons. First off, Chance’s Coloring Book is an incredible collection of gospel-inflected hip-hop songs from an artist who speaks on social issues without getting preachy or forgetting that music is supposed to be fun. Second, Coloring Bookwas the first-ever streaming-only album nominated for a Grammy. While the Recording Academy didn’t change its eligibility rules specifically for Chance, the Chicago rapper had long been at the forefront of artists challenging traditional release models. Chance is the king of the free “mixtape” — that’s how he classified Coloring Book and its predecessors Acid Rap (2013) and 10 Day (2012). Fans were able to get their hands on all three totally free of charge, and that’s helped Chance grow a gigantic fan base that includes Barack Obama, who praised the MC in 2017 for “representing the kind of young people who come out of Chicago and change the world.” Although he’s avoided selling his music, Chance has earned so much money off touring and merchandise that he was able to donate $1 million to Chicago schools.

SOURCE: https://www.billboard.com/articles/partner/8467582/5-hip-hop-artists-that-went-against-industry-norms-to-achieve-success

The Culture Isn’t Finished With ‘The Miseducation of Lauryn Hill’—and Neither Is She

lauryn_hill_5.0

Given all that has come in its wake, it is still hard to believe that Lauryn Hill released The Miseducation of Lauryn Hill when she was 23 years old. True, Hill had lived plenty of lives by then, had tried on a variety of roles—straight-A student of Maplewood, New Jersey’s Columbia High School; founder of her school’s gospel choir; promising teen actress stealing scenes in Sister Act 2 and As the World Turns; sole female member of the multi-platinum, Grammy-winning group that the media dubbed “the new conscience of rap”; and of course at her most braggadocious, “Nina Simone, defecating on your microphone.” Yet somehow, none of this quite prepared people in the summer of 1998 for the monumental achievement of her first and, to date, only solo studio album, The Miseducation of Lauryn Hill—a collection of songs as timeless and disparate as the tough-love anthem “Doo Wop (That Thing),” the break-up dirge “Ex-Factor,” the fire-starting “Lost Ones,” and that tender ode to impending motherhood “To Zion.” When an artist makes such a massively successful, groundbreaking, and format-defining work at a precocious age—think Mary Shelley writing Frankenstein at 20 or Orson Welles directing Citizen Kane at 25—it usually inspires the less precocious members of its audience (so roughly, everyone) to feel some combination of adoration and human inferiority: What were you doing with your life when you were 20, or 25, or 23? But maybe, too, there is something inherently youthful and thus reassuringly communal about such be-all-and-end-all swings for the moon. And so I like to temper this vision of an inhumanly precocious Lauryn Hill with the more human hubris of youth. “Lucky for us, like everyone in their twenties,” writes Kierna Mayo, the woman who famously put Hill on the cover of the preview issue of Honey magazine, “Hill imagined herself wiser than she really was.”

This weekend, The Miseducation of Lauryn Hill turns 20, meaning it is nearly as old as Hill was herself when she wrote and recorded it. Its success is still staggering and well documented, and well worth documenting again: It sold 422,624 copies the week it was released, which at the time set the record for highest first-week sales by a female artist. It was nominated for 10 Grammys and won five of them (the most in a single night for a female artist at the time, breaking Carole King’s 27-year-old record), including Album of the Year, an award no black woman has won since. Last year, NPR placed it at no. 2 on its list of the 150 Greatest Albums Made by Women, just behind Joni Mitchell’s Blue, and the album was also selected to be included in the National Recording Registry by the Library of Congress. Worldwide, it has sold more than 19 million copies. Here is a paragraph break so the haters can take a breath.

But Hill’s travails throughout the past two decades have been well documented, too. When the album celebrated its 15th birthday, five years ago, Hill was in a minimum-security Connecticut prison serving a three-month term for tax evasion. There have been lawsuits, canceled shows, and accusations about her treatment of backing musicians. But perhaps most deafening, there has been her silence. Hill has released one-off tracks here and there, and her 2002 MTV Unplugged appearance was released as a (polarizing) live album. But she never released another proper album after Miseducation, and when not performing live, Hill has spent much of the past two decades in exile from her stardom, quietly raising six children and devoting herself to various spiritual practices. She rarely gives interviews, but in 2010 she told an NPR reporter who asked why she had stopped releasing new music, “There were a number of different reasons, but partly the support system that I needed was not necessarily in place. There were things about myself, personal-growth things, that I had to go through in order to feel like it was worth it.”

And yet around that time Hill began performing again, usually not new material but versions of the classic songs off Miseducation, reworked, sped up, and rearranged sometimes to the point that they were nearly indistinguishable. These performances have been mixed (I’ve seen her twice: one show was brilliant, the other a disaster, which seems in keeping with the general ratio). There is something both compelling and a little unsettling about how she still seems to be revising, rewriting, and endlessly tweaking the Miseducation songs live, akin to the creative perfectionism that drove Kanye West to continue reworking his 2016 record, The Life of Pablo, as though the album was not fluid enough as a format to contain his creativity. The culture is certainly not finished with The Miseducation of Lauryn Hill, and in some sense neither is she.

As a fan, I have found Hill’s refusal to make another record frustrating and at the same time deeply profound: What can be a louder and clearer message of rebellion than, in a culture bloated with noise and excess, to remain quiet when everyone demands that you speak? Hill quickly and summarily achieved nearly every major milestone in the music industry, and then she walked away from it, as if to show that success is not a proven avenue to personal fulfillment. Hill has sometimes been compared to two other prominent black artists of her generation who disappeared at the height of fame’s demands: D’Angelo (who worked with her on “Nothing Even Matters” from Miseducation) and Dave Chappelle. “Lauryn Hill said something so apt recently,” the Pulitzer Prize–winning writer Rachel Kaadzi Ghansah mused in an interview not long after she’d written a moving essay about her search for Chappelle. “She was late for her show and people complained that she was selfish in her tardiness and she said, ‘I gave you all of my twenties.’”

What does The Miseducation of Lauryn Hill mean 20 years later? It’s a complicated question, so it is fortunate that one of hip-hop’s smartest cultural critics, Joan Morgan, has devoted an entire short book to working it out.

“Routinely lauded for its themes of self-love, empowerment, and broken-heart-bounce-backs,” Morgan writes in her incisive She Begat This: 20 Years of The Miseducation of Lauryn Hill, the record “has earned itself the rank of classic in contemporary American popular culture.” But Morgan’s book honors the record’s spirit not by adding any more height to the pedestal on which it’s already been placed, but instead interrogating it, questioning its mythology, and even bringing in some dissenting black female voices to admit they never much felt like the record spoke for them. Says the legendary critic dream hampton, “I don’t want to hear anyone say the word ‘defecate’ anywhere near Nina Simone. Ever.”

READ MORE:https://www.theringer.com/music/2018/8/24/17776882/lauryn-hill-miseducation-album-20-year-anniversary