x CB » New Rap Music

New Rap Music


Wiz Khalifa – “Big Screen

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

from Rolling Papers (Atlantic, March 29th)
“Black & Yellow” blew up by placing regular rapping on top of a pop beat, but for “Big Screen” Wiz inverts that formula and drops some soft hands and heavily autotuned sing song shit over a hard ass rap beat. And I don’t mean to deride it when I call it soft hands. Soft hands is a comfortable look for Wiz. He delivers three different hooks in rotation, all of them stadium big. He’s obviously borrowing Max B’s wavy flow but his limper falsetto pushes into more functional pop territory. In a weird way the structure also reminds me of Wayne’s “Did It Before,” the way the choruses just bounces around on a brass anchor. It feels similarly incomplete as well. When I first heard this I hoped it was a rough cut, that they would rerecord the track with fuller vocals but it has grown on me in its under-finished state. Wiz’s greatest weakness as a rapper is probably that his natural voice is less than commanding. Rather than hiding this flaw behind the autotune they use the effect to exaggerate it. He sounds so fragile and endearing here, which also plays into the little n*gga does big things motif. Until recently it’s been hard to get a clear sense of identity from his recorded output but this really does feel like how a Wiz Khalfia should sound. I don’t know why they’re pushing the vastly less engaging “Roll Up” to radio. (By the way Wiz should really think about giving Domo Genesis his album title back. Or at least throwing him a feature or something.)

Gucci Mane f/ Birdman – “Mouth Fulla Gold

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

The first Gucci song to drop after the alleged institutionalization and the infamous ice cream tattoo where he actually sounds close to inspired as he did in his prime. The raps are sloppy but that old Gucci ambition, that hunger is present. As we heard on the greatest Lil Wayne album, Birdman is best used as a hard counterpoint and it’s a shame Gucci didn’t tag him in ala Ross on “All About My Money” or Montana on “Party In The Trap.” But his standalone solo verse doesn’t get in the way. Prod. by Drumma Boy.

Rittz – “High Five

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

from White Jesus (Mixtape, Coming Soon)
I’m still not convinced that Rittz needs to exist in a world where we already have a Yelawolf but his presence is welcomed as long as he’s getting production of this grade. Burn One puts the Memphis-style pitch bend on his 808 cowbells and it makes me want to start a club fight. It should be noted, however, that Rittz’ “High Five” is not the best song about high fives, mainly because Rittz’ doesn’t seem to be about the literal act of giving high fives.

Pharoahe Monch – “Clap”
from W.A.R. (Duck Down, March)
How is it that Pharoahe, undoubtedly one of the most forward thinking technical rappers of all time, has such a regressive ear for production? I mean M-Phaze’s beat here is fine but it’s just fine. Feeling more like an album track from a Statik Selektah compilation than a lead single from a legend, it does no justice to the raps that it sits under. I know people hated on Desire but at least it tried something. Well intentioned Grown & Sexy missteps are certainly preferable to this type of hollow nostalgia. At this point I’d rather this song just be Pharoahe spitting over the solo claps like he does on the closing bars. Duck Down is putting his album and the production lineup has names like Diamond D and Marco Polo, so expect more middlebrow boom bap. Somebody get dude Young L’s phone number.

Blueprint – “Keep Bouncing”
from Adventures In Counter Culture (Rhymesayers, April 5th)
In the last Wiz Khalfia post some readers complained about how weed rap has almost fully supplanted drunk rap. Long standing Ohio underground favorite Blueprint understands your plight. Of course this is more a Common Sense style lament of the bottle’s mixed consequences than an Alkaholik romp but at some point that’s what drinking does to you. Maybe today’s kids are wise to stick to greener pastures.

Young Ace – “In My Zone

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

So two years later and the jerks are still Jerkin’, making for what might just be the longest running single minded dance craze in the history of hip hop. Kids are still doing their dance moves to tracks that still blatantly echo Hyphy (“In My Zone” echoes “Hyphy” specifically, what with Ace lifting TJ’s stupid, dumb, retarded line. Southern California known to borrow a party theme.) So it’s the same as it ever was except it now involves Chris Brown cameos and Myspace sponsored dance competitions that involve kids who look like this. “Cat Daddy” is a big record that we never talked about and really didn’t have to because we already talked about it before it existed. I don’t mean to be so cynical about an obviously thriving independent youth music scene but it’s frustrating that this one seems so motionless. The more promising rappers – Pink Dollaz, Illie, Cold Flamez – have petered out while annoying ones all stuck around. But maybe it’s difficult to prance to good rapping. I wouldn’t know. Anyway producer J Hawk, who laced both this and “Cat Daddy” is still the break out talent of the jerk pack. He’s even broken away from the scene some, expanding his resume to include both E-40 to Odd Future’s Hodgy Beats. The “In My Zone” melody is hauntingly awesome but I mostly just wanted to use this song as launch pad for my Jerk Music State Of The Union. (via Digital Dripped)

950 Plus f/ AG – “Bieber Berri

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

It’s hard to call things slept on now that calling things slept on has become the exact opposite of slept on but AG’s Everything’s Berri LP was definitely the album that everyone slept on in 2010. Though not as finely tuned as it’s obvious inspiration, Roc Marciano’s Marcberg, the DITC member’s project showed a real emotional core that I think got overlooked in the pace of web music digestion. Anyway this random AG collab isn’t really seeing anything on that album as far as lyrics go but that goddamn beat. It’s like if “I Can’t Go To Sleep” was given the “Stroke Of Death” treatment. It has nothing to do with samples that kid Justin Bieber. (via G)

Tags: , , , , ,

114 Responses to “New Rap Music”

  1. Aurich Says:

    I’m waiting for you to interview Rittz so he can tell you he’s never heard of all the LA fools he got his styles from. #rappershavetheyheardotherrappers?

    Not hating though (I’m looking forward to White Jesus), you might as well say Yela shouldn’t exist because we have Eminem. Those white rappers, they stylin’!

  2. noz Says:

    This has nothing to do with whiteness. There are thematic and sonic differences between Yela and Em.

  3. Aurich Says:

    I’m going to argue that it has everything to do with whiteness, but it’s not that I’m blind to the point you’re making. Honestly though I’ve only heard Rittz on this track, the Yela/Krit collab and that other White Jesus leak, so I’m not really prepared to draw that many conclusions.

    Really though, this could have been Fat Jack deciding it was “Memphis instrumental day” at the Good Life 15 years ago and you could have had essentially this track, which is why the Yela jab seems a little unfair.

    Memphis instrumental day sounds awesome by the way, and I’ve already played this Rittz track several times since last night, so don’t think I’m hating at all, just still in that cross referencing history mode from our earlier conversation I guess. I think this is a good look for Burn One.

  4. MAYNHOLUP Says:

    Rittz an Yela really dont seem dat similar ta me outside uv “Fulla Shit”. When you firss heard Rittz on Box Chevy i dont think anywun could have pictured him to look like he does so ta me iss not an appearance thing. And yelas more about ehpansizing syllables in his raps whereas Rittz juss fuckin goes rapid fire and kills de whole thing. He’s also a better rapper den Rittz so i am wholly convinced he needs to exist.

  5. MAYNHOLUP Says:

    ^I meant ta say Rittz iz a better rapper den Yela

  6. noz Says:

    Come on now. Rittz might style a little harder but he’s not anywhere close to Yela when it comes to storytelling ability or eye for detail.

  7. Chris Cool Says:

    i dont understand your problem with rittz is. yeah his style is similar to yela but from the tracks i heard heaint bad so i dont see what the problem is.

  8. Wally Sparks Says:

    “Burn One puts the Memphis-style pitch bend on his 808 cowbells and they’re just begging to induce a club fight.”

    First off, DJ Burn One is an excellent producer.

    Secondly, I’m glad you mentioned the Memphis influence in his production. This song has direct lineage to Tommy Wright III and DJ Zirk.

    Really dope song.

  9. Chris Cool Says:

    You cant even compare them like you are. yela has four mixtapes and two eps. rittz only got a handful of tracks(inform me if i am wrong). and really the only thing similar is them being white, fast delivery. ive had aftermornin on repeat for the past couple days, rittz is dope.

  10. Fool Says:

    That Pharoahe Monch track is incredibly depressing.

  11. dalatu Says:

    That the original verse of “High Five” is not on youtube is one of the site’s greatest failings.

  12. Fool Says:

    Why does every fucking LA jerk rapper try to sound as fucking annoying and light-in-the ass as possible when they rap?

  13. noz Says:

    This is probably the most negative New Rap post ever, huh? Which is weird because it contains some great music. I really do love the Khalifa song. In three days I’ve played it 41 times on Itunes. I thought that was weird but then I looked on Youtube and saw that it has 100k plays in the same amount of time.

  14. Fool Says:

    That Cold Flamez (ugh @ that name) song that you championed is probably the best display of pure rapping by a jerk rapper, but it’s almost like they are trying to discredit their own rapping with adding autotune to their already high-pitched, immature voices.

    And the way they look doesn’t help either.

  15. Fool Says:

    Don’t most undeniably talented rappers have a foil that raps almost exactly like them? Anyway, this is one of the best New Rap Music jawns you’ve done aside from the Monch and the jerk song.

  16. noz Says:

    “Don’t most undeniably talented rappers have a foil that raps almost exactly like them? ”

    A lot of them do.

    I think maybe what’s so frustrating about Rittz is that he’s getting far better production than Yela himself has been getting lately?

  17. Fool Says:

    1/14/11 was the best since you started doing them again tho 12/16/10 was pretty fucking close.

  18. done Says:

    yeh i was inda shocked how slept on the ag album was, especially now in the era where old man rappers are finally getting recognition for not just not falling off but figuring out how to make relevant, interesting music.

    it was a really original, progressive album i thought. your right that it probably owes a debt to marcberg, isee it especially in its stripped down production and abandoning of the three sixteens with hooks in between formula a lot of raps been stuck in for ages. but while marcys willingness to be creative with song strucure and cadence was original, it kinda felt conventional compared to evrythings berri, which really expanded on marcberg’s aesthetic and got experimental with it.
    most of it had a lot of heart too, off top of my head, shit like “no she didnt” has a lot of weight to it, painting a great icture along with pulling off a really nice unique cadence in the process. ray west is a great producer too, some of the beats are a bit anonymous but he does some really interesting shit a lot of the time. its not as consistent and immediately digestable as marcberg (which is kinda a slow burner itself) but i can see myself coming back to this a lt more in the future.

    its kinda a shame this probably wont have much of an influence on future rappers due to being slept on, its a really interesting album and a great example of a rapper being able to still make progressive music well into their career (more so than even revenue retrievin i thin). im hopin dj quik and suga free’s albums will have me feelin the same, them dudes dont seem to wanna fall off either

  19. done Says:

    itd be nice if yela had someone who was more of a straight man to his animated rapid-fire shit ala b-legit and e-40. saying that, although i much prefer forty water in general, in my opinion b outshone him a heap of times when they were together on a song.
    so maybe its an ego thing (however subconsiously) to where a lot of these dudes just find someone whos styles so similar to them a negative comparison is invitable, like to keep them in their weed carrier place?

    oh, on another note, i cant remember where it was but i seen weed-carrier written in a mainstream newspaper the other day. im not sure if thats news, but im sure bols proud either way

  20. omfgtom Says:

    i feel like you just want Yela to win because of the momentum he already has. which is okay because i do too.

  21. peetza1210 Says:

    I see whatcha mean about Rittz getting the better beats of late but there’s definitely room for both him and Yela, I don’t think he’ll ever be as popular as Yela even with the association. The non-stop flow starts to become audible noise after awhile without variation and charisma. They’re both stylin but in different ways, sorta similar to Khule and ‘Datco. Dacto got that non-stop rapid flow yet Khule got the storyteller/memorable line choppin flow locked down. And that Rittz “Rattle Back” from the Dirty Glove mixtape, damn that sheeit had some mega bass.

  22. noz Says:

    Yeah Quik is a nice point of comparison for the AG album. Just old men pouring their hearts out (but not in a soft way) over great production.

  23. petter417 Says:

    Might be the autotune but that Wiz song feels very much like a Lil Wayne song when Wayne was at his weirdest right before C3, and way before Rebirth, when he sometimes decided to not really rap at all anymore. (This was probably at the peak of his drug-use btw) He did some fantastic songs during those days(like California Love), in between the not-so-fantastic ones. Well OK that has nothing to do with Wiz really but yes this Wiz song is great.

    Damn Drumma Boy is really one of the best producers of our time but like on the low. Loving how the hook is like a vocal-sample-hook but rapped “live”. Birdman & Gucci = CLASH OF THE BURRRS!

  24. Wally Sparks Says:

    I used “a” instead of “an” before a word that started with a vowel. I’m currently judging myself for doing so. smh…

  25. noz Says:

    Don’t worry. I fixed it for you.

  26. CrowleyHead Says:

    “Marcberg” and “Everything’s Berri” might turn out to be sleeper hits. They didn’t do well because of reasons that escape me, but it’s clear they’re a lot more artistically substantial than a lot of that throwback NYC rap.

    By comparison, I’m sure more people will go nuts over this Monche record as well as the recent Ghost travesty who don’t know any better.

    NYC is a field of zombies man.

    Where did illie go anyway? I know Pink Dollaz supposedly were going to get picked up by M.I.A. (Though considering that Jerks actually get national hits, it’s a lot less hipster friendly than Baltimore, is it?).

  27. CrowleyHead Says:

    Also; what’s up with the Hodgy/J-Hawk connection? He did that one Jerk record and the one where he said “J-Hawk production… Left Brain on the loop.” on ‘Dena Tape’. Does Hodgy have a secret Jerkin’ skeleton in his closet? I remember him once mentioning he was in another crew besides OF somewhere on the net…

  28. done Says:

    yeh i feel like people jock ghosts recent stuff just because. or cos relative to wizard of poetry its a return to form. not that id like to see more hating goin on or anything and i hate to be negative but how come no ones mentioning how boring hes become? his last half-decent shit was fishscale/more fish, which showed the first strong signs of his laziness i think but nearly evrything since has been sub-par, in rapping terms at least (he still tends to have great taste in beats) but the amazing vivid writer hasnt been around for at least half a decade and i feel like no-ones really mentioning it, which is strange considering the pedastal hes been placed on the potential for disapointment from a fall off is huge. is it just fanboy denial or what?

    i kinda get the impression ghost has just been on that “giving the fans what they want” shite the last while, not just from his output but interviews too. maybe if more of his fans started being critical hed stop payin attention to them and get back to focousing on what he really wants to do. ghost always struck me as someone whos really aware of his strengths and knows his best work, and iv actually seen him talk about not being as good as he was occasionally in interviews since he started falling off, and focus more on talking bout the business side of things.

    and its a shame cos even his dream soul music project just ended up being mostly uninteresting conventional r&b when it could have been really great

  29. done Says:

    “*pointless* hating”, i should have said

  30. done Says:

    like a lot of fishscale just sounded like someone doing a just decent ghostface impression, or ghost just rapping the inda stuff he thinks people like. like he was sick of his being slept on after his last two albums (which were both really great i think, bulletproof (the original and retail) especially) and was aware his last critically acclaimed album was supreme clientele so he just tried to make some supreme clienteleish raps instead of just having a natural progression from his last album. when i found out he was titling his latest album apollo kids it just confirmed it for me and it was really depressing.

    sorry for the tangent, il leave the comment box alone for a while eh

  31. DR.NO Says:

    Yelawolf and Rittz seem to have studied a lot of the same Southern and Midwestern fast rap flows – Twista, Bone, Doe or Die, etc. To my ear Rittz follows that style much more closely and is therefore more technically proficient at it. Yela veers from it, takes more risks, and imo when he’s on the results are more exciting. But we haven’t heard much from Rittz yet, Burn One seems amped about White Jesus and Renaissance Gangster was my favorite album of last year so I’m looking forward to it.

    I can dig these dudes working together cause I grew up in the South and I know country white dudes who went from playing metal on electric guitars to fast rap shit.

  32. noz Says:

    Okay I’ll take creative stasis and mediocre rhyming over whatever the hell the New Boyz have been up to lately http://www.youtube.com/watch?v=gKu0CogurDQ

  33. CrowleyHead Says:

    Ghost best albums involved major Zeliging. He’s the original Soulja Boy.

    I’ll say this as briefly as possible, because Wu-Nerds are everywhere….

    But he conciously coppied a lot of elements from other affiliates in the camp. Two in particular. Also, Ghost was never a ‘rapper’ at the very beginning. Wu-Tang was kinda 5 MCs and their friends.

  34. skinny Says:

    “It should be noted, however, that Rittz’ “High Five” is not the best song about high fives, mainly because Rittz’ doesn’t seem to be about the literal act of giving high fives.”

    No shots at all but Dro’s “High Five” is one of my favorite dumb club jams ever (yes I have left the DJ booth to high five people after dropping it) and I’m a little let down Rittz doesn’t talk more about actually giving people high fives.

  35. Andy Hutchins Says:

    “It has nothing to do with that kid Justin Bieber.”

    Except for the brilliant flip. Which is some seriously impressive x-ray vision because the source material is some limp “Keep going” ish with the Fresh Prince’s kid.

  36. done Says:

    CrowleyHead: whos the two your reffering to, ‘perb and rae? i used to have my doubts a few year back that he might have had ghostwriters or even just as you put it, been “zeliging” (my english isnt amazing, but i always read this word as more or less biting/influenced) and while that makes a lot of sense and it really does seem to add up when you factor in the timeline of who he was collaborating with relative to his style at the time, the more you listen to his work the less believable that idea becomes. id even add rza and trife, to a lesser extent, to that list of writers/inspiration.

    im far from an over sensitive wu-stan but looking at it objectively and paying close attention to his work theres a definite gradual progression with a very distinct style seperate from who he worked closely with at the time. id agree that he tended to be somewhat feeding off the people around him and the “5 mcs and their freinds” idea rings true (especially with masta killa. ugh. tho i do like his later work a lot more) and while ghost fell into the friend catagory originally, i dont think the insinuation that hes not that responsible for his best work is fair at all. he had some of my favourite verse off 36 chambers (tearz especially) even prior to hearing all the hype about him and his solo work and while i wouldnt be surprised if rae and rza coached him/helped write his shit early on, by 95 he had his own fully formed, independant style in my opinion, even if he was still occasionally influenced to an extent. it never mattered tho, cos he nearly always outshone his collaborators post-cuban linx anyways.

    apologies if this sparked off some lenghty boring wu debate, and im starting to realise i needa learn less is more ha.

    noz,that new boyz songs worse than that “like a g-6” song which is saying something. that dro song you linked to aboves fire tho.

  37. done Says:

    nevermind, i just realised i just kinda reinforced what you were saying and agreed with you anyways, unless i misread what you wrote. bit of self-pwnage there.

    i do think people exaggerate his being influenced tho, its part of his style, but not as huge as some people make out.

  38. noz Says:

    “Except for the brilliant flip. Which is some seriously impressive x-ray vision because the source material is some limp “Keep going” ish with the Fresh Prince’s kid.”

    Wait it’s a Bieber sample? I can’t say I’m familiar with kids catalog. Link?

    “Ghost best albums involved major Zeliging. He’s the original Soulja Boy.”

    What are you talking about? The guy is clearly one of the most original rappers that hip hop has ever produced.

  39. done Says:

    “The guy is clearly one of the most original rappers that hip hop has ever produced.”

    well yeah, but there is a noticable (but this should be clear-minimal) influence on his style based on the people he worked closely with at different periods. this was mostly in the beginning tho i think, and it got rarer and rarer as time went on. i find it hard to believe youv honestly never considered if the superb ghostwriting rumour was true at some stage. i think the rumours complete bullshit, dude might have had a slight influence but its more likely the other way round.

    but i think around ironman/forever its obvious he blossomed into a completely unique rapper, the instances of influences being seen are very, very few and far between after that. but can you really say ghost’s verse on this doesnt sound like trife?:


  40. noz Says:

    Can someone please point me to the Superb records that show even a fraction of the brilliance that Ghost did on Supreme Clientele?

  41. done Says:

    well yeah thats kinda what cinched it for me. his verses on clientele arent all that great either, there are some slight similarities in their abstract-ness (and delivery particularly) but they are slight. people actin like its big pun-era fat joe or somethin obviously just werent payin attention at all. its like what robbie ettleson said bout the juice crew dudes who think they co-produced with marley cos they brought a record to the session, wheres all your great beats that dont have his involvment?

    then again like most people, iv never heard any superb solo records.

  42. done Says:

    oh i heard one actually. wasnt great.

  43. jimbo Says:

    as for desire, desire, push it, and let’s go will probably remain some of my favorite monch songs. i guess i didn’t really listen to the rest of desire all that much though…

  44. Fool Says:

    All this talk of who was the original Soulja Boy and I’ve yet to hear a song he’s done with Gucci or OJ where he changes his own natural and individual crunk/snap style he started out with to the ways they’ve been known to rap.
    “Shopping Spree”? No.
    “Gucci Bandana”? No.
    “Sponsor”? No.
    “Bingo”? No.
    “Gold Grill Shawty”? No.
    “Go Ham”? No.
    “Wanna Ball?” No.
    “Swag Flu?” No.
    “Bands?” No.

  45. patrick benson Says:

    You gotta remember that pharoh monche’s target audience are incapable of digesting anything that a isn’t bootsie back-pack throwback, living 15 years ago beat. And he’s not a big enough draw on his own to alienate them and still pay his mortgage.

  46. noz Says:

    Wait so Soulja’s not rocking Juice’s cadence and intonation on “Bands” and “Wanna Ball”? He’s not aping Gucci’s flow and writing style on “Bandana”?

    Patrick – Monch only has that shitty audience because he backed himself into that corner. I find it hard to believe he’s basing his decisions on commercial demands when WAR is going to sell like 40 copies whether he raps to boom bap or space shit.

  47. patrick benson Says:

    the fact soulja can ape someone’s flow is a good sign. biggie was at his best on tracks where he rode someone else’s flow ala notorious thugs. not everyone can do it.

    and monch is huge with “real” hip hop heads who go to shows still. show the other night he had 1000 people swaying along to “the life”.
    real lighters in the air moment.

  48. patrick benson Says:

    the fact soulja can ape someone’s flow is a good sign. biggie was at his best on tracks where he rode someone else’s flow ala notorious thugs. not everyone can do it.

    and monch is huge with “real” hip hop heads who go to shows still. show the other night he had 1000 people swaying along to “the life”.
    real lighters in the air moment. he’s still a big deal in the far reaches of the northern and southern hemispheres, so long as he doesn’t stray from his formula.

  49. noz Says:

    only four of those thousand people are going to buy his album.

  50. patrick benson Says:

    yea. but sales don’t make him shit. isn’t he on a major still?
    tee shirts (from the stage the whole front row was wearing shirts from his shows here) and shows would. this was an “impromptu” announced 4 days earlier show too.

  51. Kathryne Says:

    I work for Bang On PR, a London based online music PR company. Would really like to add you to our PR list as we’re expanding into Hip Hop presently including Devlin and Rizzle Kicks ((myspace.com/rizzlekicks)

    I couldn’t find an email contact for you on the blog.

    Get in touch.
    Kathryne xx


    in all honesty…WHY DOES WIZ OWE DOMO?

    This shit is hilarious. Domo took Wiz whole style and ran with it. He decides to name his album over the one drug paraphernalia Wiz/Spitta are synonymous with and gets aggy when Wiz names that his album. I mean yeah it sucks that your first effort will now be overshined by Wiz’s album but it’s a direct result of unoriginality. Wiz calling it Rolling Papers he’s indirectly taking his style back from the young blood.

    And that Wiz record is terrible it sounds like that Star Power Wiz when he was dick eatin Wayne the most


    also Perby Digital did indeed swagged ghostface out and penned alot of his bars

    listen to this Perb track at 1:00

    now listen to this ghostface and perb track starting at 2:18

  54. noz Says:

    “in all honesty…WHY DOES WIZ OWE DOMO?”

    I’m joking about the collab. I don’t actually expect THE MOST POPULAR NEW RAPPER to throw some random teenager on THE MOST IMPORTANT RAP ALBUM OF THE YEAR. That’d be some rawkus era delusions of underground grandeur. “Yo why didn’t puff just put sir menelik on no way out!?” But I do think the coincidence illustrates the tunnel vision and general disconnectivity in the rap world. I mean on one hand you have half the industry sucking the OF kids off to the point of chafing, yet not one person made the connection and pulled Wiz’s ear about it? One of the OF fan boys on twitter put it best when they @’d Wiz: “You know you read fader!” And it’s true man, how oblivious can an artist (or at least his handlers) be to the world he occupies (or once occupied)? The title isn’t just some shit that Wiz got high and announced on ustream one night. It’s a major release and probably the product of extensive planning. The people doing that planning should at least be aware of someone like Domo, even if they do recognize it as some deeply underground shit (which it is).

    And in the case that Wiz and his team were aware of Domo’s project to run with his title just seems dickish. Why shit on some college kid who is making what are essentially demos and actually getting a little bit of positive shine for it? Either it’s a lazy choice or a disrespectful one. But you’re right, it’s really not that serious.

    You really think that Superb track is seeing SC on a writing level? It’s completely possible that Ghost was influenced by his style, styles tend to replicate within a closely knit crew. But the ghostwriting allegations are pure bullshit. Because Perb is an average to above average rap writer and Ghost’s one of the greats with it.

  55. MAYNHOLUP Says:

    Rittz isnt close in eye for detail? i guess we gotta disagree on dat wun. Its juss ive been mad dissapoitned in like every yela song since his amazing lemonade remix. i worry about de Shady signing. i didnt like de trae collab. he did dat pop song. i think he needs rittz to remind whut de fuck he started doin in de first place

  56. MAYNHOLUP Says:

    which iz rap your fuckin ass off

  57. Supreme Neck Protector Says:

    Whether or not Lord Superb fathered Ghostface’s style in the early days is irrelevant. Ghost steamrollered all that shit with earth-shattering brilliance from then on. See also The Jaz. Who to his credit is at least still going off when he does deign to rap (, I have no idea what Superb is doing and I can’t be bothered to care.

    Apollo Kids a travesty? Did people even listen to that record, or are they so eager to prove their forward-thinking bona fides by slagging the old New York kings that it suddenly makes sense now to skim through and talk shit? We’re not talking about Reks or Torae or Termanology here, Ghost is not a lightweight and that might not be a classic but it’s not a lightweight record either.

    I tend to look askance at cats who shit on the Marco Polos and Diamond Ds for similar reasons. I wholeheartedly agree that Pharoahe of all rappers should be working with harder and less conventional-sounding beats, but there’s no reason to be mad at boom bap just for being boom bap. Boom bap is still good. It still knocks. The number of rappers using that style who are very gifted or who make great songs is tiny compared to the style’s prime, but I have no idea why it’s somehow a token of post-Golden Age enlightenment to reject it out of hand. Ghost, AZ, Crooked I, the great and hardworking and somehow mysteriously undervalued Joell Ortiz, even Cuban Linx II get derided as toothless throwbacks all the time now by cats who should know better, who are blinded by frustration with the boneheadedness of the purists to the fact that a lot of the purist music is still really really good.

  58. CrowleyHead Says:

    Never thought I’d have RNT providing back-up to my allegation; Specifically though, Ghost & Rae are severely dependent on Cappadonna & Superb stylistically AT THE LEAST. Is Ghost a better MC than both? Debatable. He’s also a great human being (ridiculously nice person) so on a minor level, I don’t care. But still, he’s not without his support team, and that, IMO, is why Ghost has also fallen off in his later years.

    For the record, Ghost & Rae bit Cap. SEVERELY. And supposedly Superb did (by his own admission/claims) only 1/3 of Clientele, which is such a dramatic reduction of his supposed worth, that it might have more validity.

    I’m one of the many billions of people who love Ghost’s work. However, he did not begin in Wu-Tang as an MC. He became one out of necessity. It’s one of my favorite aspects of him, because he’s become regarded as easily one of, if not THE best MC out of the Clan. The supposed truth is that Ghost was more of a ‘fund-raiser’ role, hence his title of ‘treasurer’. He’s actually sued Rza recently for control over using the Wu brand, which I’m surprised nobody made a bigger deal of in the news.

    However, Wu ghost-writing is not something completely unheralded. Supposedly Gza was the D.O.C. to every Wu-Tang ‘general’ on their respective solo-records, ghost-writing for them and doing demo tracks, etc. etc.

  59. Supreme Neck Protector Says:

    Re: Rittz.

    I have no idea why anyone is mad at Rittz being around when Yela is around at the same time. Rittz is outstanding and aside from the fact that they both rap fast, they’re not really similar rappers at all. They may be from similar milieus but Yela incorporates a lot more evocative imagery into his raps than we’ve heard Rittz do yet. Rittz mostly just has fun with car, drug and sex jokes. And he does it amazingly well. If he blows up (which is only a remote possibility) it’ll be because his sense of humour, which is very different from Yela’s backwoods absurdist streak, exactly matches that of literally hundreds of kids I know. In the age where The Hangover and Superbad were so popular, the kinds of jokes he cracks would make kids in their late teens and early 20s keep him on repeat if only his music were given a wider push.

    From a practical standpoint I can see an argument that it might be hard for Yela to make an impact if there’s another, similarly gifted white dude around, but the pendulum could just as easily swing the other way. Given how well I think casual rap fans (Wayne and T.I. fans, not Black Eyed Peas fans) might respond to his style, I think there’s every chance they could both be embraced.

    But even besides that, the racial-niche competition is probably a non-issue. Because Rittz (mercifully) doesn’t have the rock influences that will push Yela over the edge and help him cross over to a wider audience, so he’ll probably always occupy a smaller niche anyway just owing to that. (Is that what you’re referring to when you talk about how bad some of the recent production Yela’s been getting is? ‘Cause I don’t care for the rock-ish beats on 0-60 at all. Except “Daddy’s Lambo”. That shit kinda goes.)

    There is a chance that XXL devotees or whoever will look at him as a Yela lite and ignore him, but that’ll be only those who don’t actually take the time to check his music out. Among those who are actually curious enough to peep his shit, the stylistic differences between the two are obvious and shouldn’t confuse anyone. Even if they did their voices are wildly different, Yela sounds at times like he could be Rittz’s grandfather.

    And yeah, Yela’s way with detail and weird imagery makes him a better rapper than Rittz in my opinion, but Rittz is up there with Gibbs, K.R.I.T. and Playboy Tre in the running as my second-favourite newish rapper working. “Rattle Back”, “After Mornin'”, “My Time Is Now”, “I’m Outta Here” and these two recent leaks are as good an EP-length set of great rap songs as I’ve heard in years, and I listen to each of them literally every day.

  60. Supreme Neck Protector Says:

    Wait, Mayn, you didn’t like the Trae record? Damn, I thought that song was great. Only thing I didn’t like about it was that the Trae verse itself was unusually lame. Yela’s verses and the production were phenomenal.

    Here’s that Yela & Trae collabo for folks who ain’t heard it: http://www.youtube.com/watch?v=Tec4-ip8e8s

  61. Supreme Neck Protector Says:

    “Is Ghost a better MC than both Superb and Cappadonna? Debatable.”

    No it isn’t. Give those two credit all you like — I’m not mad at love for Cappadonna, he can occaisonally be amazing (cf. “Dart Throwing”.) But I can’t fathom a universe in with Ghost isn’t in a different class entirely.

  62. petter417 Says:

    “Is Ghost a better MC than both Superb and Cappadonna? Debatable.”

    SupremeNeckProtector is right, it’s not debatable at all

  63. CrowleyHead Says:

    You’re right. I didn’t mean to say that, I’m really rambling on comments. What I meant to illustrate though is that without the support team, Ghost’s quality is not THAT much higher than said victims of biting/influence.

    Ghost’s best quality is his personality, specifically his emotions and voice. However, he’s stunted that a LOT because a big part of his personality is also making really ridiculous R&B dependent albums (Bulletproof, Ghostdini) that his fans tend to hate and betray. And as a result, Ghost himself slips further and further away from view, and just appears as this Trojan Ghost. Old breaks, rambling about how shit used to be, etc.

    @SNP; Apollo isn’t good at ALL. It’s half-hearted, weak, and done to obligate fickle fans who would throw tantrums when he did that song with Ne-Yo. Which was the ONLY Wu-Tang record to get serious airplay in NYC, and an amazing look for Ghost. Whenever Ghost does things that he likes and/or make perfect commercial sense, he gets punished by his fans. I think people would like Ghostface to stay chained to a DJ looping “The Big Beat” for the rest of his life, which is idealist but INSANE.

  64. greg Says:

    rittz shouldn’t exist? WTF there are 100s are black rappers that sound the same and you wouldn’t say that shit. rittz is dope

  65. noz Says:

    Hundreds of black rappers shouldn’t exist either. Tens of thousands even. Shall I make a list?

  66. noz Says:

    1. Superb

  67. brad Says:

    “Boom bap is still good. It still knocks. The number of rappers using that style who are very gifted or who make great songs is tiny compared to the style’s prime, but I have no idea why it’s somehow a token of post-Golden Age enlightenment to reject it out of hand.”

    Yeah, this is on point. You don’t need to throw the baby out with the bath water. That Monch shit really is boring as hell though.

    Noz, that was a great Lil B article on NPR.

  68. DR.NO Says:

    For the record, Ghost & Rae bit Cap. SEVERELY.



    Cap managed to just about keep pace on Ironman but otherwise ran out of steam fast. I fucked with Superb’s shit on SC (I wrote this on Donnie’s roof…) 2000x more than Trife on whatever subsequent album, but he was still knee high to Ghost.

  69. CrowleyHead Says:

    Rofl all you want B. Rae doesn’t even write anything; and it’s a fact that Cap was supposed to be on 36 Chambers, but he got sent to jail just before recording. He’d already had freestyles on mixtapes in the Staten Island area. His influence is ALL OVER OB4CL.

    Keep pace on Ironman… The man went 96 bars in on “Winter Warz”! He was certainly hungrier than most of the Clan at that point.

    I don’t even like the dude that much…

  70. DR.NO Says:

    Cappa’s 96 bars on Winter Warz were far from being the best on the lp, so he’s the genius behind Wu Tang cause he had the longest verse? He held his own on Ironman but let’s give credit where it’s due.

    His influence was all over OB4CL? You need to spray some Cappadonna cologne on your neck and go holler at some chicks instead of being like ‘Cap was supposed to do this…HE HAD FREESTYLES ON TAPES’. Word? Oh shit. Did he make the club moist?

  71. Aurich Says:


  72. Fool Says:

    To answer your question, no on “Bands” or “Wanna Ball”. Neither of those verses were close to being as colorful and bouncy as a Juiceman verse. Soulja Boy used his own crunk style, direct lyrical attack on those songs.

    On “Gucci Bandana”, he’s most definitely using his own style, where his bars occasionally get very simple, clear, and still clever like he’s known to sometimes write them and he slows his flow down to emphasis the fact he’s being clever. I’ve never known Gucci to make his bars so clear in their wit even in his Fat Cats days. And they most definitely didn’t flow the same way either.

    Even when he’s been on songs with either of them, what’s set Soulja Boy apart from them is that he’s much more direct and less colorful in the structuring of his verses and in his performance and less metaphorical than Gucci most times.

  73. Fool Says:

    Sorry, I meant emphasize.

  74. kyle sv Says:

    “And supposedly Superb did (by his own admission/claims) only 1/3 of Clientele, which is such a dramatic reduction of his supposed worth, that it might have more validity.”

    man this is like saying that stunnaman ghostwrote 6 Kiss

  75. M-F Says:

    Fulla Shit is pretty much my fav’ song of 2011 so far. Does Rittz have any earlier material that’s any good? I loved him on Box Chevy 3 but then paid him no more mind after I saw the pix of him lookin’ like Junior Gorge from Fraggle Rock with afro puffs.

  76. petter417 Says:

    “man this is like saying that stunnaman ghostwrote 6 Kiss”


  77. done Says:

    yeh i lost some of my ehtusiasm too after seein him, mad lookin bastard. yela looks well in comoparison, and he just looks like a bunch of gay french marketing executives were asked what a white rapper from alabama should look like

  78. Tweets that mention CB » New Rap Music -- Topsy.com Says:

    […] This post was mentioned on Twitter by noz moscato, Kracka Pete and Sin LaJuan, Burn One. Burn One said: RT @noz: New Rap Music: New(ish) rap music from Wiz Khalifa, Gucci Mane, Pharoahe Monch, AG, Birdman and more. http://bit.ly/eqHQxn […]

  79. AmpGeez a.k.a Let Dat Blogger Cook Says:

    Off the top of my head I can’t think of another New York rapper for whom a conversation about classic West Coast gangsta rap would extend much further than Death Row and the immediate NWA family tree.
    How would you know if you haven’t asked?

    Just cause 40 Water & C-Bo never got spins on Hot97 doesn’t mean cats in NY didn’t listen to em.

  80. AmpGeez a.k.a Let Dat Blogger Cook Says:

    BTW – Like Father, Like Son is really the last great Cash Money album…even without Mannie.

  81. noz Says:

    “Neither of those verses were close to being as colorful and bouncy as a Juiceman verse. Soulja Boy used his own crunk style, direct lyrical attack on those songs.”

    That’s crazy. On “Wanna Ball” he mimic’s Juiceman’s structure and intonation to a t. He’s totally playing substitute Juiceman on that track. He jacks Juice’s adlibs completely on “Bandana” and the writing – “My chain say hello / my watch say goodbye”- is almost perfectly Guccian. In fact I wouldn’t be surprised to find out that Gooch ghost wrote his verse. Either him or Superb.

    Has any of this legendary pre-Wu stuff leaked? There are all these Wu myths – GZA as the long standing underground lyrical legend of shaolin, Cappa as freestyle assassin – that have never really been substantiated musically to my knowledge. I know there’s that youtube of RZA and ODB rocking on stage at high school, and that’s fun, but not life changing.

    I like Cappa’s “Winter Warz” verse but it’s definitely not the best on that album.

  82. Dastyle Says:

    Thanks, Nice song

  83. Rap Round Table, Week Ending 1/28/2011 Says:

    […] New Rap Music by Noz […]

  84. Fool Says:

    While I will concede that Soulja Boy did have a Juiceman flow on “Wanna Ball”,his verse is much more densely-written, straight-laced, and sharp than OJ at his most serious moments (which still isn’t all that completely serious), which is more of a momentary amalgamation of their two styles. What I’m mostly trying to do is debunk that myth that Soulaj Boy is a biter with no style of his own, which is some complete bullshit if you’re an objective listener and you are familiar with Soulja’s back catalog, which I feel you’ve propagated somewhat.

    However, “jacking” OJ’s adlibs is a harsh accusation considering he did a rather less lively version of that whole “Aye!” adlib for that one song only. Also, what songs/verses by Gucci even come close to being as apparent and blunt as that Soulja Boy verse? Soulja’s written verses like that long before “Gucci Bandanna”.

  85. patrick benson Says:

    @noz. ghost did concede that superb wrote some shit on SC. to say that 1-2 tracks makes him responsible for ghosts unique style + beat selection is more than just a stretch, it’s stupidity.

    soulja boy does mimic others. and does it reasonably well. and it’s a sign of a good craftsman that their influences can be seen, without directly plagiarising. given the more “artistic” bent he’s been on lately i think that shows promise of a solid album in the twilight years of his career (the first one, before he undergoes a revival and all that. which will happen)

  86. M-F Says:

    So, can we mark this down on the calender as being the official point when “Superb ghostwrote Supreme Clientele” became the new “Daz actually produced The Chronic“?

  87. noz Says:

    “ghost did concede that superb wrote some shit on SC”


  88. DR.NO Says:

    “Yeah, I was in Europe when I heard [Tony Yayo say] that. That’s just nonsense. I still put mad shit out. ‘Perb was ‘Perb, Ghost was Ghost. ‘Perb is Rae’s man. He been in the studio a few times while we’re doing sh*t. He ain’t write shit. All ‘Perb contributed was a couple of lines that you could put in the air. When we write, we all do that. “Say this one right here” or “Put this one right here.” We all catch lines with each other ‘cause you in the studio. You got niggas around you that write. Even if he did write a verse, he could never make an album of mine. He couldn’t make an album, you feel me? I made Supreme Clientele what it is. Those are my stories, based around whatever they’re based upon. It’s me…But, Yayo can suck a fat dick. Tell him I said that.”


  89. patrick benson Says:

    yea. that one.

  90. DR.NO Says:


    He doesn’t concede 1-2 tracks like you said though.

  91. AmpGeez a.k.a Let Dat Blogger Cook Says:

    Even if he did write a verse, he could never make an album of mine.

    But Ghost went from Superb penning a couple of lines to a verse in the same paragraph.
    I wonder where it would’ve went if the interview had continued.

    Stylistically, Ghost has never replicated the way he was spitting on Supreme Clientele. HE’s come close, but there is a pronounced difference between the way Ghost delivers his lyrics on SC & after. That stream of consciousness flow was at it’s peak on SC

  92. DR.NO Says:


    I think that’s more drugs than anything.

    Superb is better than Trife, I’ll give him that, but Ghost’s shit on Supreme Clientele is light years ahead of Superb’s.

    If Superb was the man behind the record he wouldn’t simultaneously be its low point.

  93. David Says:

    “Stylistically, Ghost has never replicated the way he was spitting on Supreme Clientele. HE’s come close, but there is a pronounced difference between the way Ghost delivers his lyrics on SC & after. That stream of consciousness flow was at it’s peak on SC”

    every artist peaks at some point. this is a nonsensical argument


    “Domo took Wiz whole style and ran with it.”

    I really can’t agree with this, at all. Domo is clearly influenced by Wiz’s image – and by that, I mean the gimmick/persona that Wiz has in public and on records – but he’s equally inspired by Kanye West, Kid Cudi, Gucci Mane, Curren$y (who Wiz owes a lot to himself), Redman, and other rappers who support brand-names and blunted-raps. He, much like Wiz in his earlier years, is a teenaged pothead who looks up to these rappers with an aura of “cool” (no Lupe) and likes to imagine him in their own shoes. Just like Wiz was putting on for all the drug-dealers in Pittsburgh and rocking DFB-sized white-tees (yup in my white tee), Domo is embracing all these older artists he admires and applying his own personality to it to create his own character among Odd Future, while still keeping his collective’s dark humor in check.

    Domo is so much different stylistically and thematically than Wiz though – although people here hate Kid Cudi, I’d honestly consider him a more direct source of influence for Domo’s rapping, as Domo is much more down-tempo and solemn. Has Wiz ever crafted a song with a story like Clear Eyes, which resembles more of a Ghost narrative than anything Wiz has ever done? Has Wiz ever spit lines as evokative as the verse that Domo lays down on Last Roll? Have Wiz and Spitta ever done a Meth Vs. Chef-esque track as downright hilarious and entertaining as Super Market? Even Drunk shows that Domo is far more somber of a character than Wiz – owing more to Cudi’s lonely stoner persona than Wiz’s laughing-hyena nature (no shots at Wiz, that dude puts on for PA and I got a lot of respect for him/have enjoyed his music for close to four years). He also doesn’t attempt singing, and he’s a far more technical rapper than Wiz is (which isn’t hard, since Wiz is not a very technical rapper).

    I mean, yeah, Domo’s rolling papers because Wiz is – Wiz is rolling papers because Curren$y is, considering all he did was smoke blunts and drink champagne before – so is every other kid in America who reads any sort of hipster publication. He exists in this stoner-rap sub-genre, and that’s what’s cool. You can’t tell me that Wiz had no BETTER ideas for an album name though? Because frankly, Rolling Papers is a pretty uninspired album title for all parties involved, the fact that it’s being used twice just kinda relaying the fact that young rappers really need to pick up a book or watch TV or something.


    oh, and some googling led me to this song – http://www.youtube.com/watch?v=27_UZw5sqho – as the source for Bieber Berri.

  96. done Says:

    so um yeh, boring wu debate. sorry if i helped that. its nice to see people talkin about biting in 2011 tho, even if theses rappers arent the best examples.

    i heard busy bee saying “cheeba cheeba” on some old live recording, domo and snoop obviously bit him too. i also heard him say “cold cash money” so cmr too but then again, baby and mannie were the turn of the century equivelents to busy bee in my eyes so maybe that doesnt work as a sarcastic comparison.

    it was kinda inevitable rap would change from askin the audience their star-signs to callin them hoes. astrology is bitchmade

  97. AmpGeez a.k.a Let Dat Blogger Cook Says:

    “Stylistically, Ghost has never replicated the way he was spitting on Supreme Clientele. HE’s come close, but there is a pronounced difference between the way Ghost delivers his lyrics on SC & after. That stream of consciousness flow was at it’s peak on SC”

    every artist peaks at some point. this is a nonsensical argument
    I understand every artist peaks at some point, but the stuff Ghost was referencing, the way his words would sometimes collide & tumble into each other…this is Ghost at his most nonsensical. You can attribute that to drug use if you want, but it’s no coincidence that Ghost happened to switch his style up right when Superb began sitting in on his recording sessions. I never believed Superb wrote Supreme Clientele in any part, but you can definitely hear his influence on the final product.

    You can’t deny the similarity in style.

    BTW – Speaking of nonsensical, I wouldn’t even consider Supreme Clientele Ghost’s peak as an MC. He managed to make an incredible album based on a bunch of different factors (ie. Production, Features, The State Of The Wu At The Time, Etc.) but IMO, Ironman, Bulletproof Wallets & Fishscale all had stronger song structure in terms of concepts and having some kind of thru line as opposed to all the randomness that fills the bulk of Supreme Clientele. It’s a classic Hip-Hop album and my fave GFK solo by far, but under scrutiny (and aside from “Child’s Play”), Ghost’s contributions are largely incoherent.

  98. AmpGeez a.k.a Let Dat Blogger Cook Says:

    You can’t tell me that Wiz had no BETTER ideas for an album name though? Because frankly, Rolling Papers is a pretty uninspired album title for all parties involved, the fact that it’s being used twice just kinda relaying the fact that young rappers really need to pick up a book or watch TV or something.

  99. nico Says:

    yo rittz = busdriver


  100. The Dude Says:

    Rittz and Yelawolf are totally different.

  101. patrick benson Says:

    yela hasn’t put out enough/been known enough for people to have gotten on top of being a fan prior to the tipping point he had last year. so for the “oh na, i only like the demos” brigade they get rittz to latch on to as their preferred of the two.

  102. DR.NO Says:

    Ghost was doing stream of consciousness shit throughout Ironman, well before Superb came around.

  103. Aurich Says:

    “yo rittz = busdriver”

    Nah, he’s styling and rapping fast, he’d fit in with the Blowed sound fine, but he’s nothing like Busdriver. He doesn’t have anything like the range of tone and inflection to begin with, just listen to his verse vs Yela’s on Full of Shit for instance. Rittz has the more solid story verse, but Yela is all over the map compared to him style wise.

    Busdriver’s point of reference wasn’t other MCs, it was horn players.

  104. S.One Says:

    Eminem and Yelawolf are very different. Personally I believe Eminem is a better rapper. But the best white rapper in my opinion is definatly Macklemore.

  105. CrowleyHead Says:

    Is it entirely reasonable that Rittz is just a Styles for Yela’s Jada? I don’t mean to be so dismissive but I wouldn’t find it hard to believe that Yela needs an occasional hypeman/sidekick for tracks, and noticed that there was a dude on Myspace who reinvented himself in Yela’s mold. Yela’s been ‘buzzing’ for like what, two years now maybe? It doesn’t take that long to knock-off someone. I’m sure there’s a fake Yela in every major city right now…

    However, I’m sure he might not be from that ‘backwoods/working class/peasent’ background that Interscope has SUCH a hard on for.

  106. air max Says:

    This weekend I got a chance to listen to 7 – 8 tracks from “White Jesus” and I have to say, I think you guys will be pleased with how thematically driven it is. Rittz’s ability to rap his ass off may have you thinking that he’s more concerned about technique than crafting songs, but that’s not the case. If you check out this short interview http://blvdst.com/?p=523 you’ll see that’s he’s been rapping for quite a while, so his music is already in a mature phase. Rittz/White Jesus is a persona that I think will, if not match, at least be distinct from Yelawolf’s. The beats are entirely different from Yela’s too. The production on White Jesus (majority of which is being produced by DJ Burn One, Ricky Fontaine, the Professor and Walt Live) is much more akin to “Box Chevy 3” than “That’s What We On Now”. They’re soulful and funky, pimp shit.
    Casual rap fans/Shady stans might see Rittz and Yelawolf as entirely similar, but I would be really disappointed in the serious fan/heavy analysis crowd if they still couldn’t see a legit distinction after “White Jesus” drops

  107. Supreme Neck Protector Says:

    Re: Ghostface

    I loved “Back Like That”. Wizard of Poetry didn’t work but it was problematic in execution, not in theory. I would love to hear Ghost continue to try to make an impact on the mainstream. I doubt he’ll ever succeed, but that’s because he’s too strange for most casual fans to process. And I don’t assume he’s necessarily given up because his fans are angry at him for not catering to their instincts. He could well have just wanted to make a dope boom bap record. And he did.

    My love for Apollo Kids has only to do with that. I just think it’s a dope boom bap album. Those beats are plainly the ones cats like Jake One and Frank Dukes have been waiting to give Ghost their whole lives, and he sounds perfect over them. And so do all the guests, Game excepted because Game never sounds good over anything. I appreciate that Everything’s Berri and Marcberg took a more adventurous approach to New York old man rap, and Apollo Kids was pretty much the same old Wu-Tang rap music, but the same old Wu-Tang rap music is still amazing.

    Which is why the idea of calling the new album bad, as opposed to just wishing Ghost would push himself and/or defy his fans to do things differently but still acknowledging the new shit’s pretty dope on its own terms, is mystifying to me. If Ghost and friends were rapping badly, maybe I’d have an issue. Seeing as they’re all still rapping their asses off, I don’t mind. They don’t have to work as hard as some other artists do to rap their asses off, ’cause at this point they’re just that good, but I wouldn’t mistake an unadventurous album for a bad one. A bad rap album is one that has bad rapping and/or production on it. Apollo Kids doesn’t.

    But then, I’m the guy for whom a Method Man feature still makes a rap song exciting in 2011, so, y’know.

    Oh, and why are people hating on Trife? Duke is a perfectly solid emcee. Writes a vivid verse. Certainly Toney Jr. but a well-written raps are well-written raps.)

  108. Supreme Neck Protector Says:

    “Is it entirely reasonable that Rittz is just a Styles for Yela’s Jada?”

    Except you can tell from listening that he isn’t. He’s been rapping since before any of us really knew who Yela was, and I have no idea where anyone is coming from seeing him as a fake Yela, because aside from the fact that they’re both white Southerners who rap fast and sound good together on record, they’re nothing alike. If you ask me Rittz has a lot more in common stylistically with Freddie Gibbs, not just with the chop but with all the sex jokes and shit. The sonic and thematic points of departure between Yela and Rittz are numerous and obvious.

    I also don’t understand anyone who sees either Yela or Rittz as a fake Project Blowed type. I don’t know why it’s so unfathomable to think that a cat from Gadsden or Gwinett isn’t familiar with Rifleman, and yet still decided he wanted his rap style to be fast. Cats have been rapping fast for generations now, the instant claiming of territory on the part of Blowed devotees is starting to look a little desperate. Screaming ‘biter!’ at the Log Cabin crew is an entirely different thing. Yela? Rittz? How? Why? Yela said in his interview that the dude in his crew who does know the Blowed is the Hollyweerd guy — which is a natural connection to make if you actually listen to those cats’ music. Nothing in Rittz’s music, and practically none in Yela’s, points in a Blowed direction. I dig Busdriver but I bet Rittz has never even heard of dude in his life.

  109. max_blvdst Says:

    just because were in the south doesn’t mean were not familiar with other kinds of emcees. Busdriver did a show here in Atlanta a few years back and got butt hurt because there wasn’t a lot of crowd participation, so he cut his set short and acted like a child to the 50 or so people who were there. But the reason the crowd wasn’t feeling it was bc it was a bad show, not bc they didn’t know who he was. Homeboy Sandman performed here last month to a crowd of about 150 and had the place going nuts. Our yearly festival A3C featured guys like Rittz and Jacke Chain alongside Pack FM and Homeboy Sandman. So please don’t assume we’re in some insulated bubble of music. An east coast guy like Wiz can sell out in the south but OJ da Juiceman got booed in NY
    That being said, the idea that dudes who rap fast are ripping off somebody is a joke. Project Blowed definitely doesn’t have a claim on double-time flows. I feel like that was just an opportunity to name-drop and flex hip hop knowledge, but it’s not accurate

  110. Aurich Says:

    “I also don’t understand anyone who sees either Yela or Rittz as a fake Project Blowed type.”

    No one said that. The remark was part of an ongoing casual conversation (spanning many places, so obviously hard to follow) about how the generation coming up often doesn’t have any broad sense of history. No one thinks Yela ripped off Good Life, the interesting point is that he’d never even heard of them. It’s not like Good Life owns “fast rapping” either, but come on, let’s be honest about where some things came from, however they’ve spread since.

    I *like* both of them, I’ve been playing the leaked Rittz tracks a lot and have most of Yela’s back catalog, there’s no hating going on here, just exploring larger pictures.

  111. CrowleyHead Says:


    I’m not saying that the dude hasn’t been rapping for a long time. But, you know how things can be. Sometimes people do change styles and careers depending on trends… I mean, would it be SO CRAZY to suggest that Rittz was rapping for a minute, but might’ve changed up his stuff in a way akin to Yela?

    You’re not wrong that they’ve got two distinct voices. But there are also similarities; and it doesn’t help Yela to give a platform to a guy who has similar music to him, when this guys APPEARS to be making a solid mixtape of quality and those who might’ve just gotten into Yela recently might be getting turned off by bad moves Yela’s made musically in recent months.

    At the same time though, I can’t help that Rittz might just end up being seen as Yela’s side-kick by anybody who’s not hypercritical like… Well, like us commenters.

  112. FillmoreSlim Says:

    Tommy Wright III – Murda In Da 1st Degree (Ft.Mac T-Dog & Princess Loko)>Ritz – High Five
    Murder>High Five

  113. jimmy blue sky Says:

    first sentence about rittz “high five” is superfluous. not sending shots, its just that the other two sentences say the same thing.

  114. Speak Ya Clout Says:

    […] has me feeling like the goddamn Maxell man. Wig blown completely back. This ties into what I was saying about Pharoahe Monch a few weeks ago – with age the most technically effortless rappers have the […]

Leave a Reply