Cadence for Decades


Minutes before today began, I finished this, thinking, ‘#ShouldveListenedToTaj.’ Those who know me know that I rarely sleep, but my LOARWD. This is the [only] Trap music I needed all along, after all. I mean, Future’s nice; and Ferg is nice; but Denzel Curry?! I need a shake-up never mind a wake-up. This album got some trap excellence. I can’t say I’ve heard anything like it yet. Plus, dude’s already got one of my favourite voices. The way he delivers the words is so ill and gives each word a purposeful life to live on. If this is how he’s been going on for THREE YEARS… Then I’m just disgusted in myself for letting it take this long time that it has. Great introduction for me to him as an artist for sure; and I’m definitely going back to his catalogue archive. Imperial is already a very strong contender for AOTY along with Bas’ Too High To Riot. Can’t wait to play this some more.

On another note, though… Harry Fraud still dropping these heavy beats for Curren$y and Smoke DZA, whose EP, He Has Risen, is super smooth if you want something with good beats and to listen to if you’re planning to pass half an hour or so. Plus Snoop is pulling verses out his ass these days; and not that bullshit, just phownky [shit]. More than worth peeping it!

Also, gotta rate the new Kano, with his fifth LP, Made In The Manor. Glad he put “Flow of the Year” on – even if it was only a bonus. It’s just serious respect to a guy such as himself, who kept true to those [British] “roots” whilst a lot of the guys at the front wandered off and wasted away their time they could have used to build a legacy, chasing after the approval elsewhere. No disrespect to them, since, clearly they know that now 👀. What’s incredible about him, the way I see it, is that he, even as a pioneer himself, recognises and isn’t shy to pay homage to the Reggae; to the Garage scene; the 2-Step; the Jungle; and just as well: the Grime scene – refusing to ignore Wiley, Dizzee, etc. He’s clearly humble, though one of the most skilled and equipped I’ve seen, from “P’s & Q’s” to “Nite Nite” and then “This Is The Girl” to “Raver…” he’s obviously just versatile with the sound.



Great. But you know what I think would be greater…

Kendrick. Thank you for the music as always. Blessing us with the roawr from the core. As you gain more fans and lose a few here and there who just can’t get with the continuous and ever-happening sound-departures — from early K. Dot on C4 and Kendrick Lamar EP, and(O)verly Dedicated, to Section.80, then again to good kid, m.A.A.d. city, and AGAAAIN to To Pimp A Butterfly — I’d rather praise the purity and untouched~ness of the latest release (untitled unmastered). Seems like we’re forever going to seen the same discussion that Jigga fans and Kanye fans (“day-ones” and laters) be having about the change of the sound directions from one album to the next. Who cares though? You really ain’t gotta listen. Nothing wrong with not liking the music from an artist you love. It’s inevitable the music is gonna miss you rather than hit when it changes up to what you’re not used to, or when an artist is experimenting.

Could easily be handed your favourite food every day, but the moment ya Momma wanna introduce you to an experiment she’s been cooking up in the kitchen; and even though you might not like it – the respect given to her for trying is way more to be highlighted.

I’ve just always had more respect for the attempt. Whether it works for you or not is a mystery to be discovered, but music is going to be music. I’m inspired by the nature of it – motivates me to do me in whatever I do; and acts as a constant reminder that I gotta let it flow < and that ridere is what I love about the all-over-the-placeness in some tracks drawn by the live instrumentation; it drives me to a place where I can be free of perfection, or tried-for perfection at least in many scenaruos I see and sense with music and life in general. I’m happy that I know some of what Kendrick was up to during the process of making TPAB now really. So don’t diss this when it was probably primarily responsible for the so-called “masterpiece” that you claim; that is TPAB; that you love so much.

NOW, anyway and back to my reasoning for this log… wouldn’t it be great to hear your dream collaborations?

Mine? In this case speaking about Kendrick.

So, I’m bumpin’ the new compilation of the untitled records (that Cee-Lo feature was niiice, and Kaseem, that yo son producing?! explanenlighten me, please) and can’t help my thoughts going back to when I heard To Pimp A Butterfly, right… all that’s swilling in my brain is one question: WHERE DA FRIGGIN’ D’ANGELO & KENDRICK TRACK ALREADY?! Dot, you’re hurting me.. you too, dawg.

If I had it my way and could piece together a musical orgy ©, I’d have to have it go a lil’ sum like deeyuws (i’MA break it down into song structure rather than just the artists on it):

Prod. Sounwave, Flying Lotus, Terrace Martin, Timbaland, Dr. Dre, James Poyser (add.), Pharrell (add.), Raphael Saadiq, (add.), Madlib (sampling), Ryan Leslie & Q-Tip (keys), Questlove? (drums), & Dev Hynes (guitar)

Intro: Common & Missy Elliott (16-bar spoken word… don’t ask. Missdemeanor, mate – you don’t KNOW)

Beat switch (yes, this early on) and it drops… haaauurddd

Verse 1: Kendrick Lamar, Mos Def, Method Man & Redman (mixed written from all three 24 tough bar-for-barz, no playing with it)

Funky smoove groovy Bridge (dey gets buzy): Chance The Rapper & Kanye West (Janelle Monae, background vocals)

Verse 2 (they get all gosp’hetto or sum sh’): Alicia Keys,  Jazmine Sullivan & Jill Scott

Verse 3: D’Angelo, Bilal & Maxwell (D’Angelo takes it from the end of the last verse and goes into a classic-style D’Angelo mumbling verse, Bilal scats, then Maxwell comes in where he switches the gears up towards the end and just croons to get the ladies wet)

Beat switch again (dance breakdown, prod. Pharrell, Saadiq & Timbo, who also ad-libs)

Hook 2: Janet Jackson & Tinashe (The Weeknd, background vocals)

(claps and drums with snares too also)

Outro (dis is da climax now, where everyone just jumps in one by one and it synchronizes in the right way through evened out~overlapping layers and it just gets mad wild): Erykah Badu & Chrisette Michele (w/ Frank Ocean & James Fauntleroy in the background harmonizing) sing light vocals to start it off and carries on throughout until end when Tyler, the Creator ends the track with a  couple silly-ass lines, meanwhile Pusha T, Earl Sweatshirt & YG come with two straight hard bars, as A$AP Ferg drops slight noisy ad-libs and Miguel comes in doin’ those wild screams, and then Big K.R.I.T. & Freddie Gibbs come with a straight aggressive melodic two bars, James Fauntleroy (harmonizes), Miguel (doin’ those wild screams). Tyler, the Creator ends the track with a couple lines.

A bit tew much for you, raaight?

Yeah, so that’s what a fantasy is, to those who don’t know. Hope you understand it. If not, den fukarf.

Jokes on you if you think the tags might hurt the fiews I get. EVERYBODY GETS A HASHTAG! HarrHa *opera octave voice if I could reach it.*