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Ghostface Killah - 2Getha Baby (Def Jam, 2010)

The first single from Ghost’s latest album receives the visual treatment a month after the Apollo Kids was released, and two months after anyone had the slightest bit of interest in the aforementioned album. I’ve never commented on it myself, at least not in full-detail; and I don’t ever really intend on it. Frankly, that’s not because the album is disappointing - it’s exactly what you’d expect from a Ghostface release. That’s the problem though; it’s the same formulaic album he’s been releasing since Pretty Toney, sans 2009’s critically-maligned Ghostdeini.

I was a fan of Ghostdeini myself, as it seemed almost like natural progression for Ghost, and it was a nice retreat from the same-ness factor that made his Big Doe Rehab album a bit dull. Ghost has always been big on soul, and R&B’s played a bit factor on his career, so hearing him dedicate an entire album to both of those genres was refreshing. Apollo Kids finds him retreading the exact same stuff he’s done since he signed onto Def Jam though.

It’s certainly not bad, by any means; Ghost is still a contendor for that GOAT-spot, and the production is alright, albeit unspectacular. On this particular song, Ghost rhymes over a faux-RZA (no Snoop) beat that does nothing to diversify itself from the rest of his catalogue. The problem is, this doesn’t seem like a step towards consistency; it feels like regression. Unlike most of Ghost’s songs that sound exactly like this, 2Getha Baby lacks any song structure whatsoever, coming off very rushed, much like that Wu-Massacre project. That’s the biggest problem with the sound behind Apollo Kids; it just feels like it was made in a couple days as a way to help Ghost get out of his contract (which would certainly be beneficial to him). 2Getha Baby has three Ghost verses, all of which range between 25-30 seconds before going into the sampled-chorus yet again. It feels like a drive-by of forgettable Starkology; the only time anything piques my interest it when he talks about Jimmy Neutron. That’s the Ghost I came to hear.

Frankly, this album a year nonsense has Ghost played out. He needs to take a couple year break, and come back with something else. Unfortunately, he’s not doing that, as he’s working on Supreme Clientele 2 and another album at this very moment. I guess he hasn’t learned from this generation of rap’s workaholics that you can burn yourself out very quickly.

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Raekwon - Butter Knives (Ice H20/EMI, 2010)

This Bronze Nazareth produced track sounds like it could fit on the original OB4CL without anyone batting an eyelash; it’s really that reminscient of RZA in his prime, although the bassline is more in similar in tone to DOOM. Although OB4CL2 was a majestic triumph for the Wu, it still felt like a modern-update of its predecessor more than a true sequel. Rae is on his supreme-runner shit here; as violent as gritty as any other rapper alive, more animated than any 40 year old rhyme slinger should be allowed to sound. Now that Ghost is slowly falling into his comfort zone and letting it consume him, Rae is the most relevant member of the Wu - hopefully he can keep that Iron Flag waving on Shaolin vs. Wu-Tang.

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Ghostface Killah - Apollo Kids [TRACKLIST x COVER]

1. Purified Thoughts f. GZA & Killah Priest
2. Superstar f. Busta Rhymes
3. Black Tequila f. Cappadonna & Trife
4. Drama f. Joell Ortiz & The Game
5. 2getha Baby
6. Starkology
7. In Tha Park f. Black Thought
8. Handcuffin’ Them Hoes f. Jim Jones
9. Street Bullies f. Sheek Louch, Wiggs & Sungod
10. Ghetto f. Raekwon, Cappadonna & U-God
11. Troublemakers f. Raekwon, Method Man & Redman
12. Rockbox
**iTunes Bonus** How You Like Me Baby f. Fabolous

December 14th. Ugly cover, but fuck it, it’s Ghost.

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Kanye West - Runaway (Film Preview)/Dark Fantasy (preview)

Oh God.. Kanye x RZA is so much more amazing that I could’ve ever expected. So much head I woke up in Sleepy Hollow.. Ye’s killing this shit.

Runaway premieres tonight on every music channel that matters, as well as VH1.com

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Just when you think that Tony Stark isn’t gonna release his yearly LP, news off his upcoming album, The Apollo Kids, surfaces on his Twitter. December 14th is the date; I’m kinda curious as to what this album’s going to sound like after last year’s Ghostdeini. Anything from one of the GOAT’s is always welcome though.

Just when you think that Tony Stark isn’t gonna release his yearly LP, news off his upcoming album, The Apollo Kids, surfaces on his Twitter. December 14th is the date; I’m kinda curious as to what this album’s going to sound like after last year’s Ghostdeini. Anything from one of the GOAT’s is always welcome though.

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Kanye West (feat. RZA, Jay-Z, Pusha T, Swizz Beatz & Cyhi Da Prynce) - So Appalled

Kanye West (feat. RZA, Jay-Z, Pusha T, Swizz Beatz & Cyhi Da Prynce) - So Appalled (Def Jam, 2010)

I was ecstatic when I saw Kanye post this on my Facebook stream, however I didn’t think it’d actually release this early in the day (most G.O.O.D. Friday’s actually fall on Saturday for Tudda). The idea of having Kanye and RZA on a track together brought out all the Wu/Ye fanboyisms I’ve had for the last 6 years. A snippet (which sounded nothing like this) of So Appalled, featuring Kanye only, leaked late last year, not long after the VMA’s incident, so this has been one of the most anticipated tracks thus far. This is also the first time that Hov and a member of the Clipse have shared a track, as Pusha and Jigga both find their verses side by side here, despite all the rumors of subliminal disses between the two parties.

Neither Swizz nor RZA rap, which is probably for the best all things considered; however, I can’t deny that I marked out when I heard Bobby Digital’s voice delivery that next to the last chorus. Kanye, Jay, and Pusha all deliver, especially Jay, who borrows a line from Harvey Dent in a manner that is quite appropriate considering Jay’s status among heads in 2010. Cyhi’s verse is impressive, but he kinda irks me. I’ve heard his mixtapes, and he bored me on those, but here he’s saying things in a genuinely interesting way. I still find it odd that he’s from the A-Town, as he shares no qualities (not even drawl) with his brethren from Georgia. He sounds like he’d be more fitting in Chicago.

Nearly clocking in at the seven minute mark, this is the second longest cut from the G.O.O.D. Friday series thus far. Remember last year when everyone was saying the posse cut is dead? Kanye single-handedly brought it back. I don’t know if I agree with every cut being a group-gathering, though. I’m a big fan of Tudda, and I’d rather listen to him than anyone else on this song - as great as this is, I’m hoping that this smorgasbord of posse cuts doesn’t make up the entirety of Dark Twisted Fantasy. Which makes me ask; where are all these songs going? Are these all outtakes from his upcoming album, having been cut from it already? Are these songs going on that five track EP with Ye and Hov? The two confirmed songs from Dark Twisted Fantasy (Power and Runaway) are both far smaller in terms of cast - Power being his only solo outing since his return and Runaway featuring no one else but Pusha Ton. A song like So Appalled is far too epic not to include on Dark Twisted Fantasy, however songs like See Me Now and the eponymous G.O.O.D. Friday could easily be left off the album. Also, that song with the Chef and the gay chipmunk.

Either way, yeah, So Appalled - download it today, and put that shit on loop. I mean that shit is - fucking ridiculous.

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Kanye West (feat. Mos Def, Swizz Beats, Raekwon & Charlie Wilson) - Lord Lord Lord (Def Jam, 2010)
Mr. West recruits old friend Mos Def, as well as new friends Raekwon and Swizz Beats (along with G.O.O.D. Friday’s resident hook maker, Charlie Wilson) to release this banger that easily makes up for last week’s lack-luster posse cut, the eponymous G.O.O.D. Friday. Despite the fact that this is another Kanye-track that exceeds the 6 minute mark (and really doesn’t need to, hearing Charle Wilson croon those extra fourty or so Lord’s isn’t neccessary), this song ranks alongside Monster and the Power (remix) as the highlights of Kanye’s series so far. Mos Def is actually rapping instead of adlibbing (shame you couldn’t get that on your album, Curren$y), Kanye provides a smooth sixteen, and The Chef closes out the song, making me forgetting the Runaway Love (remix) ever happened. The production reminds me eerily of G. Dep’s Head Over Wheels, but that may just be because I used to play that song for hours on end on a burnt CD that included a bunch of New York rarities that I don’t listen to anymore for some reason. Blaze’, blaze’, blah..
Even if Dark Twisted Fantasy doesn’t drop until 2011, Kanye’s going to release a whole album worth of material between now and Christmas, and I can’t have anything but respect for one of the most popular rappers alive doing that when he could easily be spending his time fucking white models and going to museums and having dinner with Beyonce and Jay-Z instead, although i’m aware he still does that, just less frequently.

Kanye West (feat. Mos Def, Swizz Beats, Raekwon & Charlie Wilson) - Lord Lord Lord (Def Jam, 2010)

Mr. West recruits old friend Mos Def, as well as new friends Raekwon and Swizz Beats (along with G.O.O.D. Friday’s resident hook maker, Charlie Wilson) to release this banger that easily makes up for last week’s lack-luster posse cut, the eponymous G.O.O.D. Friday. Despite the fact that this is another Kanye-track that exceeds the 6 minute mark (and really doesn’t need to, hearing Charle Wilson croon those extra fourty or so Lord’s isn’t neccessary), this song ranks alongside Monster and the Power (remix) as the highlights of Kanye’s series so far. Mos Def is actually rapping instead of adlibbing (shame you couldn’t get that on your album, Curren$y), Kanye provides a smooth sixteen, and The Chef closes out the song, making me forgetting the Runaway Love (remix) ever happened. The production reminds me eerily of G. Dep’s Head Over Wheels, but that may just be because I used to play that song for hours on end on a burnt CD that included a bunch of New York rarities that I don’t listen to anymore for some reason. Blaze’, blaze’, blah..

Even if Dark Twisted Fantasy doesn’t drop until 2011, Kanye’s going to release a whole album worth of material between now and Christmas, and I can’t have anything but respect for one of the most popular rappers alive doing that when he could easily be spending his time fucking white models and going to museums and having dinner with Beyonce and Jay-Z instead, although i’m aware he still does that, just less frequently.

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Jodeci (feat. Raekwon & Ghostface Killah) - Freek’n You (remix) (Uptown, 1995)

forget that track with the high-cheek boned one, here’s one of mine (and Kanye West’s) favorite R&B remixes, which unfortunately inspired the song that would come 15 years later.

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WHY IN GOD’S (AND NOT THAT GOD) NAME DOES THIS EXIST?

I wanted a Rae and Ye collaboration for a long time - I was dissapointed there wasn’t one on OB4CL2. Kanye is the spiritual successor of what RZA was doing so long ago, only he continues to progress to this day whereas RZA decided to do movie scores because it was far more lucrative and his production style was getting far too familiar. A whole album with verses from Rae, Tudda, and Ghost would make me feel like I had died and gone to heaven - a single song from the former two would’ve been like my own little slice. And Kanye pays homage - he samples Wu-Tang Clain Ain’t Nuthin’ Ta F Wit. Things started off well, Rae was inspired, the beat wasn’t too retooled, and it seemed like this would go into some great territory. Then that little fucking chipmunk starts singing.

Fuck Justin Bieber; he represents that which is wrong with America.

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Gravediggaz - 1-800 Suicide (Island, 1994)

maybe you’re a bastard child, you think/but mom and dad is white and you’re black as ink/maybe you’re Sicialian with a tan/but you hate lasagna and the pizza man

<3

Rest in peace, Too Poetic. 6 Feet Deep is still one of the five dopest records from the Wu-catalogue, and contain RZA’s best verses in his career. Too Poetic is still one of the most overlooked deceased rappers of all time, easily one of the most passionate and skilled emcees of his generation. Unfortunately, much like Esham and the rest of their horrorcore ilk coming out around this time, the Gravediggaz, to this day, have not gotten the recognition they deserve.