**I want to thank everyone who helped this article spread. It went on a worldwide tour of my hometown HipHopDX (thanks to Danielle Harling), as well as XXL, BET, Pigeons and Planes (thanks to Graham Corrigan), Complex (thanks to Justin Davis), and even a translation into French (thanks to French Montana.) If you like these articles, and want to see more, feel free to like the Composer's Corner facebook page.
This chart measures what rappers repeat the same words the most. This chart is actually an index, as is explained on Wikipedia here.
As the guy who generated this data for me emailed me, "Repetitiveness: This is an algorithm I hand rolled to use on this data. It's similar to vocabulary density, but uses ngrams instead of individual words. I think it gives a really meaningful metric. I got the idea when I saw this meme comparing Beyonce to Freddie Mercury."
I used Excel to create the visualization. The data analyst got the raw material from crawling popular lyrics websites.
Love,
Martin
P.S. - UPDATE:
Here is the data on how many words and how many songs the data was compiled for each artist, so you can decide how big the sample size should be:
P.S. - It's happened so much I had to make an FAQ for negative feedback, so before you offer non-constructive criticism, please read this.
P.S. - If you like this and want to encourage me to write more articles, think about buying a T-shirt here. Don't worry, I won't make any money off it - it's all for the love of the game. The rap game.
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Showing posts with label rapper's flow encyclopedia. Show all posts
Showing posts with label rapper's flow encyclopedia. Show all posts
Monday, August 31, 2015
Thursday, March 26, 2015
Hip Hop Headlines Support
The "Hip Hop Headlines" app, from www.RapAnalysis.com, is easy to use. Just tap any of the rapper's name on the intro screen, and you'll be taken straight to a feed with customized news stories about that rapper. There are also included top sources for news on any rapper that you can click: The Source and Watch Loud, for instance. A custom search can be located on the button in the very bottom left with the title "Search." Just input the name of a rapper you'd like news on, and you'll get top news stories on that person.
For questions, comments, or restaurant suggestions, email mepc36@gmail.com
Thanks for downloading! And please think about donating.
Love,
Martin Connor
P.S. - This app, available for iPhone (and hopefully Android soon) was developed in March 2015 by Martin Connor. The names of the rappers and sources were compiled from the top posts on the reddit forum /r/HipHopHeads.
For questions, comments, or restaurant suggestions, email mepc36@gmail.com
Thanks for downloading! And please think about donating.
Love,
Martin Connor
P.S. - This app, available for iPhone (and hopefully Android soon) was developed in March 2015 by Martin Connor. The names of the rappers and sources were compiled from the top posts on the reddit forum /r/HipHopHeads.
Sunday, March 22, 2015
Thursday, March 19, 2015
Donate For The Hip Hop Headlines
What's up! My name's Martin Connor, a 20-something freelance writer and musician from Philly, PA, and it is I who made the rap news aggregator you now hold in your hands. Do you want to see more stuff like Hip Hop Headlines? Maybe a news aggregator for other music genres? Great! You can help make those other projects happen by donating here:
Look man, I get it. You expect to get everything free online: music, video games, whatever. Shit, I do the same damn thing, so I'm not saying that's wrong. But I am saying that, as of yet, there is a disconnect online between the quality of someone's work and how they are in turn compensated for that work. I've gotten over 500,000 page views, had my work featured on the biggest media outlets in the rap industry, and never seen a dime from any of it. And you know what those-magazines-who-shall-not-be-named did with my articles that went viral? They copied and pasted my work, and straight up stole my content. Not only did I not see a fraction of a penny from any of this, but I didn't even get the puerile satisfaction of seeing my page views go marginally up.
But I know it's a balance. If people did have to pay to see my articles or download my apps, I probably wouldn't have gotten 500,000 page views in the first place. I'm not saying what I'm proposing to you now is the be-all, end-all answer. But I am saying that I'm at my fucking wits' end trying to make this work, because bussing tables every weekend on back-to-back graveyard shifts isn't what I want to do the rest of my life.
So, thanks. And, as always,
Love,
Martin
Look man, I get it. You expect to get everything free online: music, video games, whatever. Shit, I do the same damn thing, so I'm not saying that's wrong. But I am saying that, as of yet, there is a disconnect online between the quality of someone's work and how they are in turn compensated for that work. I've gotten over 500,000 page views, had my work featured on the biggest media outlets in the rap industry, and never seen a dime from any of it. And you know what those-magazines-who-shall-not-be-named did with my articles that went viral? They copied and pasted my work, and straight up stole my content. Not only did I not see a fraction of a penny from any of this, but I didn't even get the puerile satisfaction of seeing my page views go marginally up.
But I know it's a balance. If people did have to pay to see my articles or download my apps, I probably wouldn't have gotten 500,000 page views in the first place. I'm not saying what I'm proposing to you now is the be-all, end-all answer. But I am saying that I'm at my fucking wits' end trying to make this work, because bussing tables every weekend on back-to-back graveyard shifts isn't what I want to do the rest of my life.
So, thanks. And, as always,
Love,
Martin
Monday, October 6, 2014
Rap Music Analysis - Eminem, "The Rap God"
From new Composer's Corner contributor, Steven Bruno:
-Steven Bruno is a 22 year old author from Toronto Canada who writes short scary stories, you can find his work on his blog Blood In My Pen.”
-Steven Bruno is a 22 year old author from Toronto Canada who writes short scary stories, you can find his work on his blog Blood In My Pen.”
Eminem’s ability to rap well is obviously one of the main reasons
that he stands at such a high spot in hip-hop. He can string words and
syllables together that no other rapper would even dream of, and he does it
CONSISTENTLY. He uses a mixture of complex rhyming schemes and wordplay that he
mixes together with a smooth sounding flow to create his own unique sound that
not many other rappers can match. Some rappers can emulate certain parts of his
style and make a few good songs, but I haven’t heard of anyone who is able to
do it consistently for 8 albums. His consistently good music is what
sets him apart. I’m going to break down his style into multiple sections to
help you understand fully all that is Eminem. I’ll include some verses from
other rappers to compare and contrast multisyllable/word rhyming, flow, speed
and wordplay.
Let’s
check out Drake’s opening lines on “Headlines”: (each song's title in this article is hyperlinked to the YouTube video for that song.)
"I
might be too strung out on compliments, overdosed on confidence
Started
not to give a fuck and stopped fearing the consequence
Drinking
every night because we drink to my accomplishments
Faded
way too long, I'm floatin' in and out of consciousness”
Now
I’ll admit to the fact that Drake is a far better rapper than this verse
implies; I’m just using these lines as an example of a popularly used simple
rhyming scheme. As you can see, he’s rhyming only one word with one word, each
word being 3 syllables:
"Compliments
Confidence
Consequence
accomplishments
Consciousness”
This
is probably one of the easiest patterns to use, although it’s commonly done
with 2 syllables instead of 3. Before we go on, I should define what a perfect
rhyme and family rhyme is. A perfect rhyme has these
characteristics:
1. The rhyming syllables have the
same vowel sounds
2. The consonant sounds after
the vowel (if any) have the same sounds
3. The rhyming syllables begin
differently
A
family rhyme is the same except for that second point:
2. The consonant sounds after
the vowel are phonetically related
Frog/dog
would be an example of a perfect rhyme, while rich/wish and fun/sung would be
examples of family rhymes. They rhyme, but you can tell they don’t perfectly
match up. In the above example, compliments and confidence are
perfect rhymes while accomplishments and consciousness can
be considered a family rhyme, especially since the syllables -ments and
-ness don’t rhyme perfectly. Eminem (and a lot of rappers in
general) utilizes a lot of family rhymes in his songs, which allows him to
rhyme together a wider selection of words and syllables. I’ll go into more
depth on his use of family rhymes in a later segment.
Let’s
look at another rhyming style that is a bit harder to implement but is still
popular. This verse is taken from Lil Wayne's “She Will”:
"Niggas
is jealous, but really I could care
less
I'm
in Hell's Kitchen with an apron and a hairnet
Devil
on my shoulder, the Lord as my witness
So
on my Libra scale, I'm weighing sins and forgiveness
What
goes around comes around like a hula hoop
Karma
is a bitch? Well just make sure that bitch is beautiful”
Lil
Wayne’s specialty is not his technical ability to rhyme, but let’s take a look
at the rhyming scheme here. As you can see, he’s rhyming the last two syllables
in each line (with the exception of jealous
and careless in the first line),
whether those syllables are contained in one word or two. This is also a very
popular style in rap and isn’t too difficult to do. Let’s now look at another
Lil Wayne verse that is a bit more complex, from the song “A
Milli”:
“A
millionaire
I'm
a Young Money millionaire, tougher than Nigerian hair
My
criteria compared to your career just isn't fair
I'm
a venereal disease like a menstrual bleed”
See
the way he uses two words (nigerian hair) to rhyme with millionaire?
The -gerian in nigerian is a family rhyme with million-
while hair rhymes with -naire as a perfect rhyme. He also
switches it up in the next line:
"My criteria
compared to your career just isn't fair”
Criteria compared is at the beginning of the sentence yet is a
family rhyme with nigerian hair which comes at the end of the last
sentence. Let’s look at some other lines from this song to highlight another
important style:
"I
go by them goon rules if you can’t beat 'em then you pop 'em
if
you can’t man 'em then you mop 'em
if
you can’t stand 'em then you drop 'em
You
pop 'em cause we pop 'em like Orville Redenbacher”
See
how man ‘em and stand ‘em both come at the
beginning of the second and third line while mop ‘em and drop ‘em both
come at the end? This style really differentiates an amateur rapper with a more
talented rapper, but is nonetheless still quite common in rap.
Now
let’s take a look at an Eminem verse to see how he utilizes these different
techniques. This is part of a great verse on the song “Bitch Please II”:
"Gimme
the mic, let me recite til Timothy White
Pickets
outside the Interscope offices every night
What
if he's right
I'm
just a criminal making a living off of the world's misery
What
in the world gives me the right
To
say what I like, and walk around flipping the bird
Livin' the urban life, like a White kid from the burbs
Dreaming at night of screaming at mom, scheming to leave
Run
away from home and grow to be as evil as me”
First
of all, take a step back and look at how many words are italicized: a FUCK TON.
This is actually a good song to compare different rhyming styles because 3
other rappers are featured in the song. Okay, let’s begin to analyze this
verse:
The
words mic, recite and white all rhyme. So do give me, let me and
Timothy. He says the words so fast that you can basically look upon them
each as one word containing 4 syllables each.
“Gimmethemic
lemmerecite
timothywhite”
Out
of 13 syllables, 12 are part of the rhyming pattern. Then he takes a breath for
11 syllables and finishes off the rhyming pattern with every night and if
he’s right. Let’s call this rhyming scheme Pattern A:
Pattern
A:
“Gimme
the mic
let me recite
Timothy White
Every night
If he’s right”
Pattern
A is not done yet. We’ll add to it after we analyze the next line, line 4:
"I'm just a
criminal making a living off of the world's misery”
At
first it doesn’t sound like anything in this line rhymes, but pay close
attention to criminal and living off: they’re a family rhyme.
Look at them phonetically, cri-mi-nal and li-ving of, they fit
the rules of a family rhyme, although they are not part of Pattern A. Let’s
refer to them as Pattern B, even though this pattern doesn’t show up again in
the verse. Then in the following line, he returns back to Pattern A with the
words gives me the right. Eminem (and rappers in general) insert
rhyming patterns in between other rhyming patterns to make the song flow
better, and it also allows them to rhyme the majority of the words in the
sentence without being limited to one specific pattern of rhyming syllables.
"Gimme
the mic (A), let me recite (A) til Timothy White (A)
Pickets
outside the Interscope offices every night (A)
What if
he's right (A)
I'm
just a criminal (B) making a living off (B) of
the world's misery
What
in the world gives me the right (A)
To
say what I like (?)”
Look
at the last line. I like doesn’t fit in perfect with Pattern A; only the
last syllable -ike seems to fit. He does this purposefully for two
reasons:
1. He can end off Pattern A without
you realizing it and transition into a different rhyming scheme
2. He can create a new rhyming
pattern that holds a remittance of Pattern A (because he keeps the long i syllable
going)
Let’s
name that last rhyme Pattern C and look at the next few lines:
"To
say what I like, and walk around flipping the bird
Livin' the urban life, like a White kid from the burbs”
He
started another rhyming pattern here, which we will call Pattern D, with flipping
the bird, livin’ the urb-, kid from the burbs. He also
carries on Pattern C with like, life, like, white.
"To
say what I like (C), and walk around flipping the bird
(D)
Livin' the urb (D) an life (C), like a White (C) kid from the
burbs(D)”
By
intermingling patterns like this he can insure that almost every word in the
line is part of at least one rhyming pattern, if not two. This contributes to
his flow, which I will discuss in the forthcoming segment of this analysis. Notice how the word urban
is split into two to fit into two rhyming patterns? Livin’ the urb- is
part of Pattern D while -an phonetically rhymes with i in I
like and a in a white. These are the two patterns split
up.
Pattern
C:
"I like
-an life
a white”
Pattern
D:
“flipping
the bird
livin’ the urb-
kid from the burbs”
Let's
finish up with this verse and analyze the last two lines:
"Dreaming at night of screaming at mom, scheming
to leave
Run
away from home and grow to be as evil
as me”
These
lines are a bit more difficult to analyze. We can see a few patterns emerging here,
some which intermingle with previous patterns and some that are part of two
patterns.
Pattern
D:
“a
white (from the previous line)
at night”
Pattern
E:
“Dreaming
screaming
scheming
evil”
Pattern
F:
“home
grow”
Pattern
G:
“leave
me"
Those
are all the rhyming patterns I can point out except one, which I’m not even
sure would be considered its own rhyming pattern. See how scheming is a
family rhyme with evil (Pattern E) and leave rhymes with me (Pattern
G)? Technically those words can be put together and placed in their own rhyming
pattern:
Pattern
H:
“scheming
to leave
evil as me”
Do
you see how much work and thought goes into nine lines of a verse? And Eminem
does this pretty much consistently in all of his songs, utilizing these
intricate patterns and weaving them together in a beautifully flowing fashion.
I suggest you give this verse a listen and pay attention to how well it flows.
The next section of this analysis, coming out in a week or so, will analyze Eminem's rap in terms of aspects that have to do more specifically with flow as it's strictly defined.
Thanks for reading!
-Steven Bruno is a 22 year old author from Toronto Canada who writes short scary stories, you can find his work on his blog Blood In My Pen.”
Friday, September 19, 2014
Rap Music Analysis - Importance Of The Rap Team
"Kanye first, then I'm coming after."
So goes Big Sean’s lines on his awesome “Supa Dupa Lemonade” song. He might be paying his proper dues to his mentor here, but what he says also simply isn’t true, as well-intentioned as it might be. The real situation of Big Sean’s clique (clique…clique…clique…) is, "Big Sean first, then Jay coming after, and Ye coming after, and maybe Chains last, sir." These lines would illustrates much better the important of the rap team, which goes beyond any particular crew or group that a rapper might be in.
Just check out the order of rappers’ appearances on these Kanye-affiliated mega singles.
"Mercy:"
1. Big Sean
2. Pusha T
3. Kanye West (at beat change)
4. 2chainz
“Ni**as in Paris:”
1. Jay-Z
2. Kanye West (at beat change)
“Clique:”
1. Big Sean
2. Jay-Z
3. Kanye
“New God Flow:”
1. Pusha-T
2. Kanye West (at beat change)
3. Ghostface
“No Church In The Wild:”
1. Frank Ocean
2. Jay-Z
3. Kanye West
What’s the pattern here that holds almost all the time? The newbs open the song (Big Sean, Pusha T, and Frank Ocean.) Then, Jay-Z always comes right before Kanye, if he’s on the song, and usually in the middle of it. Then, Kanye West comes in at the end, usually right when the beat changes.
This is how it works artistically: Big Sean is the appetizer that whets your appetite, and gets you pumped. I think they figured out that Big Sean might not give you a great verse, but it won't be BS, and it will perfectly fit the party rap goal of the album. Then, Jay-Z is the entree that they try to hide between two better courses. People generally remember the beginning and the end of a song the most, and this places his middle verse in the background. And then Kanye always comes in and kills it at the end, usually right when the beat changes. A great recipe, as the huge success of these songs shows.
But the best example of the importance of the rap team is how 2Chainz fits into all this. 2Chainz, bereft of both good verbal content (Guru’s saving grace) and tight technical approaches (MF DOOM’s saving grace,) simply can't hold a song down by himself. His single “I’m Different” shows this perfectly. You only need to change a few of the words slightly and 2Chainz' petulant, protesting delivery comes across as what a little child might say when throwing a temper tantrum.
But on a song like “Mercy,” 2Chainz’ chanting cadence finds it's perfect place in the rap painting. His up and down rhythms stand in contrast to the other 3 rappers' syncopated flows that float around the beat. The 16 bars Chainz raps are the perfect length for him to make himself heard; as we've seen, those 3 verses and chorus of "I'm Different" just ask too much of him. But when 2Chainz isn't asked to carry a song, and just support other rappers, then we see how the whole can be greater than the sum of its parts. There's a hierarchy here: Big Sean gets the promo he needs, Kanye gets the main spotlight, and 2Chainz both amps it up and brings us down to prepare us for the end of the song.
A rap team that doesn't work quite as well is the Hot Boys, which is made up of Turk, B.G., Juvenile, and Lil Wayne. They simply step on each other toes. They seemed to know this themselves, as B.G. has his own solo song “Help,” Lil Wayne has his own “Clear Tha Set,” Juvenile has his “Ya Dig,” and Turk has “Bout Whatever.” Even on the song on which they’re constantly trading bars it doesn’t all come together, as they run into each other’s lines verbally during “We On Fire.”
Their problem is that while they’re each pretty good individual rappers, Lil Wayne and B.G. especially, they don’t work well together, and certainly not on the level that Kanye’s clique does. This is because while they were trying to reconcile everyone’s ego so that they all feel equal, GOOD Music recognizes the clear hierarchy of popularity and puts it to use for them.
Hopefully other rap teams can learn from this. Take it from well built NBA teams: have a superstar, one or two supporting guys who set the table, and then some role players. Maybe the Hot Boys should take a page out of their own hometown Pelicans playbook...nah. But the Spurs for sure, though.
So goes Big Sean’s lines on his awesome “Supa Dupa Lemonade” song. He might be paying his proper dues to his mentor here, but what he says also simply isn’t true, as well-intentioned as it might be. The real situation of Big Sean’s clique (clique…clique…clique…) is, "Big Sean first, then Jay coming after, and Ye coming after, and maybe Chains last, sir." These lines would illustrates much better the important of the rap team, which goes beyond any particular crew or group that a rapper might be in.
Just check out the order of rappers’ appearances on these Kanye-affiliated mega singles.
"Mercy:"
1. Big Sean
2. Pusha T
3. Kanye West (at beat change)
4. 2chainz
“Ni**as in Paris:”
1. Jay-Z
2. Kanye West (at beat change)
“Clique:”
1. Big Sean
2. Jay-Z
3. Kanye
“New God Flow:”
1. Pusha-T
2. Kanye West (at beat change)
3. Ghostface
“No Church In The Wild:”
1. Frank Ocean
2. Jay-Z
3. Kanye West
What’s the pattern here that holds almost all the time? The newbs open the song (Big Sean, Pusha T, and Frank Ocean.) Then, Jay-Z always comes right before Kanye, if he’s on the song, and usually in the middle of it. Then, Kanye West comes in at the end, usually right when the beat changes.
This is how it works artistically: Big Sean is the appetizer that whets your appetite, and gets you pumped. I think they figured out that Big Sean might not give you a great verse, but it won't be BS, and it will perfectly fit the party rap goal of the album. Then, Jay-Z is the entree that they try to hide between two better courses. People generally remember the beginning and the end of a song the most, and this places his middle verse in the background. And then Kanye always comes in and kills it at the end, usually right when the beat changes. A great recipe, as the huge success of these songs shows.
But the best example of the importance of the rap team is how 2Chainz fits into all this. 2Chainz, bereft of both good verbal content (Guru’s saving grace) and tight technical approaches (MF DOOM’s saving grace,) simply can't hold a song down by himself. His single “I’m Different” shows this perfectly. You only need to change a few of the words slightly and 2Chainz' petulant, protesting delivery comes across as what a little child might say when throwing a temper tantrum.
But on a song like “Mercy,” 2Chainz’ chanting cadence finds it's perfect place in the rap painting. His up and down rhythms stand in contrast to the other 3 rappers' syncopated flows that float around the beat. The 16 bars Chainz raps are the perfect length for him to make himself heard; as we've seen, those 3 verses and chorus of "I'm Different" just ask too much of him. But when 2Chainz isn't asked to carry a song, and just support other rappers, then we see how the whole can be greater than the sum of its parts. There's a hierarchy here: Big Sean gets the promo he needs, Kanye gets the main spotlight, and 2Chainz both amps it up and brings us down to prepare us for the end of the song.
A rap team that doesn't work quite as well is the Hot Boys, which is made up of Turk, B.G., Juvenile, and Lil Wayne. They simply step on each other toes. They seemed to know this themselves, as B.G. has his own solo song “Help,” Lil Wayne has his own “Clear Tha Set,” Juvenile has his “Ya Dig,” and Turk has “Bout Whatever.” Even on the song on which they’re constantly trading bars it doesn’t all come together, as they run into each other’s lines verbally during “We On Fire.”
Their problem is that while they’re each pretty good individual rappers, Lil Wayne and B.G. especially, they don’t work well together, and certainly not on the level that Kanye’s clique does. This is because while they were trying to reconcile everyone’s ego so that they all feel equal, GOOD Music recognizes the clear hierarchy of popularity and puts it to use for them.
Hopefully other rap teams can learn from this. Take it from well built NBA teams: have a superstar, one or two supporting guys who set the table, and then some role players. Maybe the Hot Boys should take a page out of their own hometown Pelicans playbook...nah. But the Spurs for sure, though.
Friday, September 12, 2014
Lil Wayne - Rap Music Analysis
I think for a lot of rappers here, no matter what you value strongly or disregard as minor in a rapper's style, you'd have to agree with me. My estimation as Lil Wayne as a very good but non-top 10 rapper is actually not one of those rappers, as long as you break agreement with my argument's premise of who the best rappers are and create your own. For the sake of argument, I will make that counterargument, for which I have no real way to prove wrong, and which I have to just end up by saying that we agree to disagree because our arguments premises are completely different.
You'd have to start by saying that rappers should be judged not completely or even by a majority of their strictly musical aspects, but in their artistic yet non-musical forms of expression as well. That's because while Lil Wayne is good but not great at certain of the strictly musical aspects I've described, he is maybe the most compelling artist of the rap world. He became famous at 17. He's from a non-traditional Mecca of rap, New Orleans, that allows him a signature status he wouldn't have in NY or even LA. He gets the best producers. He's wildly famous, and keeps us intrigued with his antics, like going to jail. He made a rock album. He released a number one hit single where he sung. He has an entire about only chewin' the gine. But mostly, it's the fact that Wayne seems insane.
Because that is the ultimate response to the first strictly musical argument against Wayne that I made: that he isn't trying to be technical at all, but that his aesthetic is an uncontrolled one, like MIA's brutality and assault on your ears. An over zealous person might make this argument for many of the other rappers I leave off the top 10 list, such as Snoop Dogg, but Lil Wayne pulls it off with such a consistency and such an outlandishness that it's more convincing. If Lil Wayne added a tight technique to his rap's approach, he would lose much of what makes Lil Wayne, Lil Wayne.
We can further see this as a self-conscious choice on Wayne's part because he shows absolute brilliance at certain moments that, if he could only replicate them, would place him in the same stratosphere as Jean Grae, Nas, or Eminem. For instance, on "Walk In," he has these lines, where the brackets surround sentences and the capitalized words are rhymed:
[they handle all my pharmaCEUTICS]
[i got it from promethazine to metaMUCIL]
[i'm CRUCIAL]
[don't MEAN to SPOOK YOU]
[but this is new orleans so my QUEENS to VOO DOO]
Here, we have it all. The perfect imagery and emotions evoked with a single word: voo-doo. The big amount of rhymes. The long rhymes. The pacing, tight phrasing. This line would be right at home in the work of Jean Grae.
But elsewhere, Lil Wayne makes mistakes that the college white boys I heard at school who only got the confidence to rap when baked out of their mind wouldn't do. Check this line, from "Who Wanna:"
[kid SLICK SLICK]
[i CLICK CLICK BLAST on ya bitch ass]
[squad up shit] [clique'll SMASH on ya bitch ass]
[smash on ya bitch ass]
That exact repetition of a line at the end, with no change in meaning or pun, would get booed as a stutter or stumble at a battle rap fight. And yet there it is, and he does this in a number of places.
Basically, this loose artitry works for Lil Wayne because it fits his artistic persona, where it doesn't for others with a lack of technique, such as Twista. Twista's hard as shit, so why isn't his phrasing just as concrete? But Lil Wayne's a complete weirdo. Saying, "I'm a Martian?" Calling himself a goblin? A whole song about eating pussy? "The nickname Tunechi?" Just like Ludacris, Lil Wayne puts an odd turn on the traditional gangsta persona. Lil Wayne would've fit in any rap era, where it's hard to imagine 808s and Heartbreaks getting play in the 90s, as influential as Kanye's album turned out to be.
But no, Wayne would fit with the chill-out have fun of the late 70s, the completely unique and signature albums of the 80s where each took a different approach, the gangsta rap of the 90s, post 808s And Heartbreak, and up until today.
Friday, September 5, 2014
Twista - Rap Music Analysis
My thoughts on Tech N9ne, Krayzie Bone, and Twista are all very similar, which might not be surprising since they are all considered to have Midwest "chopper" styles. Just like the other two, Twista is another good reason why I'm moving away from using the word "flow" to refer to the musical aspects of a rapper's style. It's hard to imagine Twista's staccato, quick rhythms as flowing at all, using the same word's other definition as something that goes smoothly. This whole article could be a very short entry:
1. Twista
2. Raps fast
3. One style
1. Twista
2. Raps fast
3. One style
But then you probably wouldn't read my articles any more.
"But wait!" His legions (legions?) of admirers will cry. "He's got more than one style!" Alright, fine, I'm sure he does. I'm sure you can dig up some song from some album where he gives a smooth, Biggie-esque flow there. And you'd be right, in a way. You'd be on track for the argument's content, but you're not on track for the premise of the argument.
"But wait!" His legions (legions?) of admirers will cry. "He's got more than one style!" Alright, fine, I'm sure he does. I'm sure you can dig up some song from some album where he gives a smooth, Biggie-esque flow there. And you'd be right, in a way. You'd be on track for the argument's content, but you're not on track for the premise of the argument.
An artist isn't judged just by the type of rap they have. They're also judged by the musical influence of that rap. It doesn't matter that Eminem wasn't the first person to use extended block rhymes of 3, 4, or even 6 syllables, such as on "Just Don't Give A Fuck:"
[i'm BUZZIN']
[dirty DOZEN]
[DIRTY ROTTEN RHYMER]
[cursin' at you players worse than MARTY SCHOTTENHEIMER]
There, "dirty rotten rhymer" is rhymed with "marty schottenheimer" in Eminem's opening bars. Hear the song here.
So, I don't care if Slick Rick rhymed 6 syllables in a bar in 1987 on some obscure song.
Slick Rick didn't go on to be a huge crossover hit and become as big as Elvis on a global stage; to sell millions of records; to have shows in Asia, Europe, and so on. Eminem did. Thus, it basically means that Eminem's use of extended block rhyming is more important and more notable in the history of rap. Eminem not only pulled off extended block rhymes well; he put them in such a format and package, like the smash single for a major motion film, 8 Mile, and brought them to millions of listeners. Thus, in some sense, Eminem was the first one to make block rhymes awesome. If a listener or future rapper hears Eminem and not Slick Rick use extended block rhymes for the first time, then in a sense Eminem is the true originator, not Rick.
This is also what you have to think about when you evaluate Twista, or any rapper who becomes notable for one style. Everyone has heard "Slow Jamz", so that's what Twista's style has come to be epitomized as. If all the most popular songs from Twista are ones where he raps fast, then he is a fast rapper.
My more general beef is that I've never heard any Midwest chopper rapper successfully merge quick rhythms with a tight technique on rhymes. Long 3 or 4 syllable block rhymes simply seem foreign to the style, maybe foreign to even the very physiological pronunciation of words so quickly. Twista falls into that pitfall, and doesn't use them.
Of course, you can't dismiss Twista without giving him praise for his breath control and articulation. It really is impressive, and fights the belief held by many that rappers are amateur musicians . But Twista never uses his technical expertise to its fully artistic extent. If you always rap fast, then that is the benchmark level a listener hears from you: you rapping fast. They expect that. But if you merge slow rapping with quick rapping, and know how to move back and forth from one to the other, that makes the quick rapping more interesting and impressive.
Slick Rick didn't go on to be a huge crossover hit and become as big as Elvis on a global stage; to sell millions of records; to have shows in Asia, Europe, and so on. Eminem did. Thus, it basically means that Eminem's use of extended block rhyming is more important and more notable in the history of rap. Eminem not only pulled off extended block rhymes well; he put them in such a format and package, like the smash single for a major motion film, 8 Mile, and brought them to millions of listeners. Thus, in some sense, Eminem was the first one to make block rhymes awesome. If a listener or future rapper hears Eminem and not Slick Rick use extended block rhymes for the first time, then in a sense Eminem is the true originator, not Rick.
This is also what you have to think about when you evaluate Twista, or any rapper who becomes notable for one style. Everyone has heard "Slow Jamz", so that's what Twista's style has come to be epitomized as. If all the most popular songs from Twista are ones where he raps fast, then he is a fast rapper.
My more general beef is that I've never heard any Midwest chopper rapper successfully merge quick rhythms with a tight technique on rhymes. Long 3 or 4 syllable block rhymes simply seem foreign to the style, maybe foreign to even the very physiological pronunciation of words so quickly. Twista falls into that pitfall, and doesn't use them.
Of course, you can't dismiss Twista without giving him praise for his breath control and articulation. It really is impressive, and fights the belief held by many that rappers are amateur musicians . But Twista never uses his technical expertise to its fully artistic extent. If you always rap fast, then that is the benchmark level a listener hears from you: you rapping fast. They expect that. But if you merge slow rapping with quick rapping, and know how to move back and forth from one to the other, that makes the quick rapping more interesting and impressive.
I far prefer Kendrick's approach to quick rapping on "Rigamortis." Besides varying his rhythms beyond simply being fast and using triplets, Kendrick knows how to move from slow to quick rhythms. He starts the song slow, and then ends it quickly. This artistic move, as simple as it is, makes his rap much more re-listenable, once the unseasoned rap listener matures and moves beyond what are, at worst, Twista's inconsequential fireworks that sound pretty but don't do much. This is a great example of a (future) GOAT outlining the difference between what makes a good rapper and what makes a legendary rapper. In any event, Kendrick's breath control is more impressive, because he is constantly varying where he takes breaths, whereas Twista doesn't. Kendrick in a way puts Twista in his place: Lamar has completely assimilated Twista's style, improved on it, and then relegated it to the backwaters of his style. It's almost as if he got bored with something so easy.
Much of this can be applied to why Eminem's "Rap God" song didn't deserve all of the media attention it got. Major international publications with no specific connection to rap but who must deal with cultural icons like Eminem regardless lost their shit over "Rap God", such as Time Magazine. Just check out this quote:
Much of this can be applied to why Eminem's "Rap God" song didn't deserve all of the media attention it got. Major international publications with no specific connection to rap but who must deal with cultural icons like Eminem regardless lost their shit over "Rap God", such as Time Magazine. Just check out this quote:
>If “Rap God” and his first single “Berzerk” are anything to go by, the world can expect an immortal recording.
But you can know not to trust Time at all when they go on to say this:
>“I’m beginning to feel like a Rap God / All my people from the front to the back nod” spits Eminem in his trademark staccato flow.
Eminem's trademark flow isn't staccato; it's legato and flowing.
But on "Rap God," Eminem basically makes the mistake Twista has made his whole career: thinking tight instrumental technique is all you need. But whereas Eminem has multiple classic albums to fall back on, Twista doesn't. And in any event, "Rap God" saw eminem try a new style very well and showed him growing as a rapper, even at 40 years old. That's what great rappers do, and Twista never learned that.
Wednesday, August 27, 2014
Snoop Dogg - Rap Music Analysis
An excellent example of someone with dope rhymes, but a lack of a technical control over rhymes. A simplification of his problem is that he doesn't use longer rhymes; the correct evaluation is that he doesn't know what to do with long rhymes. Certainly, Snoop is one of the most original rappers of all time. Although he spawned a legion of imitators, in no small part because of his inseparable association with the funk rhythms of G-funk (go figure!). It's only farther testament to his skills that no imitator quite approached his apparent and complete lack of caring that his every word is being recorded. His best rhymes on Doggystyle or The Chronic, as great as the rhythms that they have are, consist largely of repetitions of him spelling his name, and him counting numbers. So that’s also the problem: that EVERY WORD HE SAYS IS BEING RECORDED. The result is verbal content that is pretty devoid of anything beyond rhythmic meaning; Snoop's insights into life will never be confused with that of Mos Def on “Mathematics” or Talib Kweli on “Black Girl Pain”. Sometimes people marvel at how Jay-Z and Lil’ Wayne never write down their rhymes; in fact, I find this extremely believable, and that’s because of the vapid content that they have recently been putting out.
Because of this innate feel for flow, almost rivaling Biggie’s, combined with some pretty vanilla poetic content, Snoop spawned a generation of imitators. It’s a testament to Snoop’s originality that no one ever quite got it down. Perhaps unsurprisingly, I most closely compare Snoop to his fellow California brethren who’s largely been forgotten: Hittman. If we compare the two, we’ll see how Snoop approaches his rhymes, and how Hittman imitates this. Let’s take Snoop’s rhymes on the famous “Gin And Juice.” These rhymes are the ones we want:
[but i / some how some way keep comin’ up with / funky ass shit like every single DAY] /
[MAY i kick a little something for the / G’S, and
make a few ends as i / BREEZE THROUGH]
[TWO in the morning and the / party’s still jumpin’
‘cause my momma ain’t HOME] /
This type of rhyming that eschews tight phrasing is typical of Snoop’s style. For instance, look at where the rhymes, capitalized here, happen in the sentences that are indicated by the brackets. Each rhyme group is flipped from the end of one sentence to the start of the next. For instance, “day” ends one sentence, and then the rhyme “may” starts the next one. Then, “through” ends the sentence after that one, and then the rhyme on the word “two” starts the next sentence. Finally, these bars, indicated by slashes, end with a word that doesn’t rhyme on any of the previous rhymes (but does start a rhyme group in the next bar.) This is what makes Snoop’s style: rhymes coming in unexpected places at unexpected times.
This is what Hittman does, and probably picked up from Snoop, being from California himself, and working with Snoop’s man Dr. Dre. Check out these rhymes from Hittman on the Chronic: 2001 song “Ackrite”:
[yo chase them girls in the black MAXIMA] [the PASSENGER almost FRACTURED her neckbone looking BACK AT US] [PLUS they on the dick ‘cause the cat is PLUSH] [they BLUSH I bumRUSH the HUSH]
Here, Hittman also ends sentences with rhymes that start the next sentence, just like Snoop did. “Maxima” ends the first sentence, and “passenger” opens the next one. Then, “us” ends the second sentence, and is rhymed on the first word of the next, “plus.” Then, the second sentence’s last word, “plush,” is rhymed on “blush,” that starts the last sentence here. So we see similarities, but what really makes them similar is their similar rhythms, which is harder to describe for non-musicians.
Qualitatively, Hittman’s and Snoop’s rhythms are more flowing, with longer syllables that are pronounced for a longer time. To really appreciate Snoop (or Hittman,) listen to those changes in how long the syllables last. Their rhymes aren’t gonna knock you out with crazy lengths and frequency, like for Eminem, such as on “Brain Damage.” https://www.youtube.com/watch?v=C8F8RkPaQNM
While this use of this rhyming style is original to Snoop, Snoop can’t then make new methods of phrasing out of old ones, which is what all my GOATs, like Jean Grae, can do. For instance, check out Snoop’s opening lines on “Gin And Juice:”
[with so much drama in the l.b.C, It’s kinda / hard being snoop d-o double-G, but Ii /
[somehow, someWAY, keep coming up with / funky ass shit like every single DAY]
Here, the phrasing is more traditional. It’s an AABB form, where the A’s represent the “-ee” rhyme sound on the letters “C” and “G,” and the B’s represents the rhyme vowel sound on “-ay,” on “way” and “day.” That’s a simple couplet form, with external, single-syllable rhymes that come at the end of sentences. Pretty boring. But to really get Snoop, listen to how the syllables “every single day” are pronounced. They’d look something like: “ev-RY SIN…gle…..day.” But snoop doesn’t know how to take this simple couplet form and move past it.
For instance, because I analyzed this just yesterday, take a line from Your Old Droog. You can hear this track, “Nutty Bars,” here. I'm feeling this song a bit because Droog keeps changing up the type of rhymes he uses. Just check out the first lines he's got, sorry if the words are a little wrong:
[she knew that i would smash a little debbie and i still bagged the HOSTESS] /
[don't fuck with ENTENMANN'S] [GHOST from the TENAMENTS] /
I like this line a lot because Droog does what you expect, but slightly varies it, which Snoop doesn’t really do. That first sentence quoted, as indicated by the pairs of brackets, is exactly a bar long. (Again, the rhymed words are capitalized.) The obvious thing for an emcee to do here, then, is to make another external (end of sentence) rhyme on "hostess" in the next bar, which is shown where those slashes start and stop. For instance, this is exactly what Big Daddy Kane, and a lot of other rappers, do very often. Check Kane's song "Calling Mr. Welfare," you can hear it here. These are the opening lines:
[you know the lady on the top floor of my BUILDING] /
[the heavy set one with about ten CHILDREN ] /
Kane does what so many rappers have done before: there are 2 sentences, 1 bar each, with external rhymes. This is the first half of Snoop Dogg’s couplet form, just the AA. Being so natural, is what I thought Droog would do when I first heard the song.
But Droog doesn't complete that couplet, because he introduces a different rhyme from one that could be rhymed on "hostess." Instead, he rhymes “entenmann's” with “tenaments”, which new rhyme I didn't expect him to insert. But he still rhymes on "hostess," with the syllable "ghost." But, unlike Kane's external rhymes, he makes "ghost" an internal rhyme at the start of a sentence. However, Droog still has external rhymes on entenmann's/tenaments, just not the rhyme you expect, and these 2 bars still end and start with the bar line, just like Kane did. But now there are 3 sentences. So Droog has kept these elements traditional:
1. Length of 2 bars
2. Rhyme on external rhyme
3. 1-bar long opening sentences
But changed these elements:
1. New rhyme group introduced
[but i / some how some way keep comin’ up with / funky ass shit like every single DAY] /
[MAY i kick a little something for the / G’S, and
make a few ends as i / BREEZE THROUGH]
[TWO in the morning and the / party’s still jumpin’
‘cause my momma ain’t HOME] /
This type of rhyming that eschews tight phrasing is typical of Snoop’s style. For instance, look at where the rhymes, capitalized here, happen in the sentences that are indicated by the brackets. Each rhyme group is flipped from the end of one sentence to the start of the next. For instance, “day” ends one sentence, and then the rhyme “may” starts the next one. Then, “through” ends the sentence after that one, and then the rhyme on the word “two” starts the next sentence. Finally, these bars, indicated by slashes, end with a word that doesn’t rhyme on any of the previous rhymes (but does start a rhyme group in the next bar.) This is what makes Snoop’s style: rhymes coming in unexpected places at unexpected times.
This is what Hittman does, and probably picked up from Snoop, being from California himself, and working with Snoop’s man Dr. Dre. Check out these rhymes from Hittman on the Chronic: 2001 song “Ackrite”:
[yo chase them girls in the black MAXIMA] [the PASSENGER almost FRACTURED her neckbone looking BACK AT US] [PLUS they on the dick ‘cause the cat is PLUSH] [they BLUSH I bumRUSH the HUSH]
Here, Hittman also ends sentences with rhymes that start the next sentence, just like Snoop did. “Maxima” ends the first sentence, and “passenger” opens the next one. Then, “us” ends the second sentence, and is rhymed on the first word of the next, “plus.” Then, the second sentence’s last word, “plush,” is rhymed on “blush,” that starts the last sentence here. So we see similarities, but what really makes them similar is their similar rhythms, which is harder to describe for non-musicians.
Qualitatively, Hittman’s and Snoop’s rhythms are more flowing, with longer syllables that are pronounced for a longer time. To really appreciate Snoop (or Hittman,) listen to those changes in how long the syllables last. Their rhymes aren’t gonna knock you out with crazy lengths and frequency, like for Eminem, such as on “Brain Damage.” https://www.youtube.com/watch?v=C8F8RkPaQNM
While this use of this rhyming style is original to Snoop, Snoop can’t then make new methods of phrasing out of old ones, which is what all my GOATs, like Jean Grae, can do. For instance, check out Snoop’s opening lines on “Gin And Juice:”
[with so much drama in the l.b.C, It’s kinda / hard being snoop d-o double-G, but Ii /
[somehow, someWAY, keep coming up with / funky ass shit like every single DAY]
Here, the phrasing is more traditional. It’s an AABB form, where the A’s represent the “-ee” rhyme sound on the letters “C” and “G,” and the B’s represents the rhyme vowel sound on “-ay,” on “way” and “day.” That’s a simple couplet form, with external, single-syllable rhymes that come at the end of sentences. Pretty boring. But to really get Snoop, listen to how the syllables “every single day” are pronounced. They’d look something like: “ev-RY SIN…gle…..day.” But snoop doesn’t know how to take this simple couplet form and move past it.
For instance, because I analyzed this just yesterday, take a line from Your Old Droog. You can hear this track, “Nutty Bars,” here. I'm feeling this song a bit because Droog keeps changing up the type of rhymes he uses. Just check out the first lines he's got, sorry if the words are a little wrong:
[she knew that i would smash a little debbie and i still bagged the HOSTESS] /
[don't fuck with ENTENMANN'S] [GHOST from the TENAMENTS] /
I like this line a lot because Droog does what you expect, but slightly varies it, which Snoop doesn’t really do. That first sentence quoted, as indicated by the pairs of brackets, is exactly a bar long. (Again, the rhymed words are capitalized.) The obvious thing for an emcee to do here, then, is to make another external (end of sentence) rhyme on "hostess" in the next bar, which is shown where those slashes start and stop. For instance, this is exactly what Big Daddy Kane, and a lot of other rappers, do very often. Check Kane's song "Calling Mr. Welfare," you can hear it here. These are the opening lines:
[you know the lady on the top floor of my BUILDING] /
[the heavy set one with about ten CHILDREN ] /
Kane does what so many rappers have done before: there are 2 sentences, 1 bar each, with external rhymes. This is the first half of Snoop Dogg’s couplet form, just the AA. Being so natural, is what I thought Droog would do when I first heard the song.
But Droog doesn't complete that couplet, because he introduces a different rhyme from one that could be rhymed on "hostess." Instead, he rhymes “entenmann's” with “tenaments”, which new rhyme I didn't expect him to insert. But he still rhymes on "hostess," with the syllable "ghost." But, unlike Kane's external rhymes, he makes "ghost" an internal rhyme at the start of a sentence. However, Droog still has external rhymes on entenmann's/tenaments, just not the rhyme you expect, and these 2 bars still end and start with the bar line, just like Kane did. But now there are 3 sentences. So Droog has kept these elements traditional:
1. Length of 2 bars
2. Rhyme on external rhyme
3. 1-bar long opening sentences
But changed these elements:
1. New rhyme group introduced
2. External rhyme is now on internal rhyme
3. 3 sentences, not 2
4. 3-syllable rhyme, not 2-syllable rhyme
This is what Snoop doesn’t know how to do.
As original as Snoop's flow is today, still sounding fresh today after 20 years, he never moved comfortably beyond it. Snoop die-hards may point out the harder, more aggressive approaches of his post-Doggystyle albums, but he never seemed to convincingly pull off a more aggressive flow. As innate as it seems to 2pac, that's how foreign aggression seems to Snoop Dogg. No matter whether it's good or not, I give Snoop a lot of props for Snoop Lion, even if he seems to take the persona too far at times. It's in the same way I respect Lil’ Wayne for his rock album, even if it did suck. But Snoop Lion is reggae, not rap, and so I haven’t taken it into consideration here.
It boils down to this, and what separates so many of the rappers here from my top 10: Snoop doesn't have a complete and total control over every aspect of rap in the same way that Jean Grae does. When this is combined with a lack of compelling verbal content, the result is a very original, very talented rapper who is not quite a GOAT. He may top other top 10 lists, but my list relies only on rap: not how popular a rapper is, how long they’ve stuck around, or the great beats they’ve picked, all of which Snoop excelled at. However, top 10 here? No.
3. 3 sentences, not 2
4. 3-syllable rhyme, not 2-syllable rhyme
This is what Snoop doesn’t know how to do.
As original as Snoop's flow is today, still sounding fresh today after 20 years, he never moved comfortably beyond it. Snoop die-hards may point out the harder, more aggressive approaches of his post-Doggystyle albums, but he never seemed to convincingly pull off a more aggressive flow. As innate as it seems to 2pac, that's how foreign aggression seems to Snoop Dogg. No matter whether it's good or not, I give Snoop a lot of props for Snoop Lion, even if he seems to take the persona too far at times. It's in the same way I respect Lil’ Wayne for his rock album, even if it did suck. But Snoop Lion is reggae, not rap, and so I haven’t taken it into consideration here.
It boils down to this, and what separates so many of the rappers here from my top 10: Snoop doesn't have a complete and total control over every aspect of rap in the same way that Jean Grae does. When this is combined with a lack of compelling verbal content, the result is a very original, very talented rapper who is not quite a GOAT. He may top other top 10 lists, but my list relies only on rap: not how popular a rapper is, how long they’ve stuck around, or the great beats they’ve picked, all of which Snoop excelled at. However, top 10 here? No.
Friday, August 22, 2014
Rap Music Analysis - Prodigy and Mobb Deep
There is maybe no one who has ever done quintessential NYC boom-bap rap better, from both a rap and production point of view. The only problem is that that is the only area prodigy occupies. Make no mistake: just as there was no room for 50 cent's Get Rich Or Die Tryin' approach after Kanye's Graduation album, there is almost no place for Prodigy post Kendrick Lamar and his good kid, m.A.Ad city album. This accordance of NYC supremacy even shockingly includes the work of The Wu-Tang Clan. As great as RZA's management of Raekwon, Method Man, GZA's, and Ghostface's contributions was, I can't help but shake the feeling that the sound of kung-fu samples movies is, in the end, alien to an American urban, overbuilt metropolis.
In any event, the very dynamic of Mobb Deep as a group - just two guys, including a rapper producer, who collaborate on every album - is truer to the dynamic of rap than a group of 9 amazing rappers and businessmen, which is completely unique in the rap world.
In a way, Prodigy might be a victim of his own success. He was so good at gangsta rap for so long he might never have felt a need to diversify beyond the urban material that predominates his poetry. He certainly wasn't able to make the same rapping leap as Jean Grae from her Attack Of The Attacking Things to her Cookies Or Comas mixtape, or even the production leap of Dr. Dre between N.W.A, G-funk, and Chronic: 2001, or Kanye West from...any album to the next.
Although I was talking mostly about his production there, for the best gangsta rap, the production informs the content of the rap, and not the other way around. This makes it unlike other sub-genres of rap that have material that could be interchanged. For instance, as much as I like the beats on the G.O.O.D. music mixtape, the "Clique" raps could have been spit over any Hit-Boy beat.
However, it's hard to imagine Prodigy's first verse on shook ones pt. 2 having the same effect, even over other boom-bap beats, and that's what makes it awesome. "Shook Ones, Pt. 2" is completely the real deal as well. Some songs in rap that are passed around as classics really aren't good songs in the first place, or they've lost their punch over the years as their details were incorporated into other musician's songs. However, "Shook Ones" is right up there with "The Message" and "Jesus Walks", and maybe in contradiction to "Rapper's Delight."
"Shook Ones" is actually a great summation of Prodigy's style. What he's gonna kill you with is punch lines. But not punch lines that are jokes and will have you laughing, like Ludacris might; instead, they'll make you run and cry: "Take these words home and think em through / or the next rhyme I write might be about you." Prodigy's gangsta rap writing is especially notable for lacking the explicitness of other rappers, like Eminem. Eminem would shock you and describe every detail of his tortures. Instead, Prodigy relies on suggestion and subtlety, as he leaves his devilish plans for you unsaid.
Although prodigy is a better technical rapper than Snoop Dogg, he doesn't have the most original style of all time. He's just the best example of something of which many have done, and which many still do very, very well. He doesn't suffer from a lack of versatility in his technical approach, as Snoop does. He knows how to vary the type of his rhymes, and his rhythms at their best grab you and pull you in. Just notice how on "Shook Ones" he's always floating right around the downbeats of the music, but never quite on them. Prodigy's somewhat monotone flow suggests the sparseness of the urban life, especially when combined with the barebones production, not just in terms of the sounds they use - at most 2 samples, a snare, a bass kick, and hi-hats - but their mixing, which very often have holes in their frequency range. Furthermore, the mixing is amateur - the reverb is completely unbalanced off to the right on "Shook Ones". But it's this kind of brutal aesthetic that gives The Infamous the replayability that other gangsta raps have. 50 cent's debut album had crazy beats. But the life 50 describes might have been lived by any other gangsta rapper, and 50 tells you everything - he doesn't leave any part of the story for you to unfold yourself. Prodigy skillfully sidesteps this pitfall in his own work.
In any event, the very dynamic of Mobb Deep as a group - just two guys, including a rapper producer, who collaborate on every album - is truer to the dynamic of rap than a group of 9 amazing rappers and businessmen, which is completely unique in the rap world.
In a way, Prodigy might be a victim of his own success. He was so good at gangsta rap for so long he might never have felt a need to diversify beyond the urban material that predominates his poetry. He certainly wasn't able to make the same rapping leap as Jean Grae from her Attack Of The Attacking Things to her Cookies Or Comas mixtape, or even the production leap of Dr. Dre between N.W.A, G-funk, and Chronic: 2001, or Kanye West from...any album to the next.
Although I was talking mostly about his production there, for the best gangsta rap, the production informs the content of the rap, and not the other way around. This makes it unlike other sub-genres of rap that have material that could be interchanged. For instance, as much as I like the beats on the G.O.O.D. music mixtape, the "Clique" raps could have been spit over any Hit-Boy beat.
However, it's hard to imagine Prodigy's first verse on shook ones pt. 2 having the same effect, even over other boom-bap beats, and that's what makes it awesome. "Shook Ones, Pt. 2" is completely the real deal as well. Some songs in rap that are passed around as classics really aren't good songs in the first place, or they've lost their punch over the years as their details were incorporated into other musician's songs. However, "Shook Ones" is right up there with "The Message" and "Jesus Walks", and maybe in contradiction to "Rapper's Delight."
"Shook Ones" is actually a great summation of Prodigy's style. What he's gonna kill you with is punch lines. But not punch lines that are jokes and will have you laughing, like Ludacris might; instead, they'll make you run and cry: "Take these words home and think em through / or the next rhyme I write might be about you." Prodigy's gangsta rap writing is especially notable for lacking the explicitness of other rappers, like Eminem. Eminem would shock you and describe every detail of his tortures. Instead, Prodigy relies on suggestion and subtlety, as he leaves his devilish plans for you unsaid.
Although prodigy is a better technical rapper than Snoop Dogg, he doesn't have the most original style of all time. He's just the best example of something of which many have done, and which many still do very, very well. He doesn't suffer from a lack of versatility in his technical approach, as Snoop does. He knows how to vary the type of his rhymes, and his rhythms at their best grab you and pull you in. Just notice how on "Shook Ones" he's always floating right around the downbeats of the music, but never quite on them. Prodigy's somewhat monotone flow suggests the sparseness of the urban life, especially when combined with the barebones production, not just in terms of the sounds they use - at most 2 samples, a snare, a bass kick, and hi-hats - but their mixing, which very often have holes in their frequency range. Furthermore, the mixing is amateur - the reverb is completely unbalanced off to the right on "Shook Ones". But it's this kind of brutal aesthetic that gives The Infamous the replayability that other gangsta raps have. 50 cent's debut album had crazy beats. But the life 50 describes might have been lived by any other gangsta rapper, and 50 tells you everything - he doesn't leave any part of the story for you to unfold yourself. Prodigy skillfully sidesteps this pitfall in his own work.
Monday, June 23, 2014
Black Thought - Rap Music Analysis
A look at Philly rapper Black Thought and how he's musically so versatile.
Tuesday, June 10, 2014
Rap Music Analysis - Earl Sweatshirt, "Earl", Pt. 3
This week’s treat is a “Part 3” to my Earl
Sweatshirt Analysis in the Rapper's Flow Encyclopedia. A guy asked me some very good questions about my original
Sweatshirt analysis, and I answered them all for him. I’ve indicated his
questions in a different font than my own answers. As always, thanks so much
for your support.
Question: I'd wager to say that Earl
has little to no education in theory; do you think that he meant to rap in 9 or
is it just how he said it that day?
My answer:
This is a question I asked myself all the time when
I first started analyzing rap: do these artists MEAN to do what they do? And,
like a lot of questions, it hinges on what you really mean when you say
"mean." Earl didn't purposefully rap in noctuplets; however, this
doesn't mean what he did happened by accident, and it DOESN'T mean that the
artistic value of his work is any less because of it. This demonstration would
be a lot easier if we were in person, but rappers don't think of musical time
like most other music-makers do. For instance, as a composer, I look at a piece
of music, and see a bar of music that can be divided into 4 beats, each of
which can be divided into 4 16th notes, all of which can be even further
subdivided, and so on. Think of musical time like a piece of clay. For most
music-writers, musical time works like a piece of clay that is laid out and
evenly divided into even parts. But for rappers, they don't experience musical
time that way. For them, musical time is like clay that, while being laid out
horizontally, is pulled apart and pushed together. Sometimes it's thin,
sometimes it's thick. They don't work from the musical beat up; they work from
the verbal syllable down. This is what allows them to come up with their crazy
rhythms. I mean, really, noctuplets? NOCTUPLETS?!?!?! A composer would never
even compose in noctuplets, because they're literally unperformable. They just
have too many variations, a performer would never have them all
memorized.
Question: Have you heard other versions of him doing this and, if so, are they the same?
This is a really intriguing question, and made me
youtube different live versions of the song. The first was this one http://www.youtube.com/watch?v=Gj96SqkGJ_c I don't think Earl is even at the show; you'll notice that odd
future is just playing the CD track and having the crowd rap along.
It's the same thing http://www.youtube.com/watch?v=pQgj5VZLsDo I think it's because Earl was at that young boys' home in Samoa
during all these shows that they performed it without him.
However, I finally found this version of Earl
rapping "earl" http://www.youtube.com/watch?v=LhzOrllHLrk
Honestly, what I found here kinda blew me away. He
is rapping it very differently at times. His rhythms aren't the same, they're
not as complex (more straight 16ths I think), and not as intricate. I think
part of this has to do with the complexity of re-creating a studio experience
live, but it also has to do with the complexity of Earl's rhythms in the first
place. Before I even saw any of these vids, I would have told you, "No,
Earl doesn't rap it the same way every time live, it's simply too
difficult." These videos give that claim credence.
Question: How much do his 64th note noctuplets lend to his style?
More than most rappers, I think Earl's musical
rhythms are closely tied to his style. This comes out on his new album
"Doris." Earl definitely has a signature flow, something not all
rappers do. It's low, laidback, not hype, monotone delivery, like MF DOOM, but
structurally tighter. These noctuplets support that. I haven't analyzed it
properly yet so those examples might be a little scattershot, but he also raps
in noctuplets on "Whoa," a song which you could pretty much just call
"Earl Pt. 2", it's so similar to the first song.
Question: Would his rap be terribly different if he just skipped down beats and rapped with less syncopation?
Earl's rhythms are so complex, they are almost
beyond syncopation. In my analysis I touch on it a little, but I think Earl's
rhythms are so fine that they give the sensation that the beat of the music has
moved. I'm still working this theory out though, so I can't say much more about
it.
Question: What do you think rappers like Andre 3k, MF Doom and Earl think of when rapping their rhythms; do they just "go" or is there a sense of "Imma need ta make dis spit flow as fuck" in regards to their rhythms?
hahah, I mean, this is an impossible question to
answer. I think what you're really asking is how rappers come up with their
rhythms. In response, I'll quote you some relevant tidbits from my interviews
with Jean Grae and Talib Kweli:
---------
Composer's Corner: When you start writing, do you
start with words or music?
Jean Grae: I don’t think that they’re different. I don’t separate the rhythm from the actual word. The word is exactly what is creating the timing…I guess I look at them as beats and notes in themselves. So I’m very conscious of what sort of patterns feel right…and you know it’s the best rhyme when you’re fucking the beat. You’re not competing, you’re not lying somewhere there, you’re getting in there, finding all the spaces where you’re supposed to be. It’s choosing the right words…the first idea, the one I always have and that takes the most time, is the opening line. And it all grows from there…
Composer's Corner: So does the word suggest a rhythm?
Jean Grae: Again, it doesn’t suggest, it is the rhythm. It suggests an emotion, whether you’re using triplets or whatever it is, I think certain patterns and certain syllables convey emotions, and that’s really my goal at the end of it. It’s not only using the right word, it’s selecting a word and usually one I haven’t used, words that draw emotions out of people. Words that are relatable are the most important things.
Composer’s Corner: Is rap more poetry, melody, or is it when you combine both together?
Talib Kweli: It’s all of that. It’s definitely when you combine all of that together. There are rappers who I love, that I’m scared of, like, “Damn, that motherfucker can flow. Damn, he can rap.” But they’ve never made a song I like. I wouldn’t go as far to name them.
Composer’s Corner: You’re saying that it never came together, the flow working well with the beat?
Talib Kweli: Yeah. You hear somebody and you recognize the talent, and you’re like, “Wow, that person can really rap. Wow, if they could just figure out what beat to flow on and how to make a song, it would be dope.” I’m aware enough of myself as an artist to know that there’s people who feel that way about me. There’s people who feel like “Get By” is my only good song, and I don’t pick good beats. I would beg to differ. But there’s people who feel like that, and there’s people who feel like that about me as well.
Composer’s Corner: So does every rapper have their own unique flow? And the question is how to make it fit to a certain beat and how to express yourself in a way that makes sense?
Talib Kweli: I’m saying that’s how it should be, and that’s what the best rappers do. There are flows that get popular. There was a Jadakiss flow that got popular. You know whose flow has gotten extremely popular lately? Chief Keef. The whole industry started rapping like that. There’s certain flows that get popular and people run with them. Definitely, Das EFX had one of the more popular flows.
-----
Back to my voice now:
The takeaway for you from this should be that each rapper chooses rhythms that they feel fits the beat. These rhythms can't be concocted out of some formula; they're simply felt by the rapper. However, the rhythms that work for one rapper wouldn't necessarily work for the next. The rappers don't purposefully choose noctuplets, or quintuplets or whatever; they choose syllables and words for the emotional effect that they convey to a listener.
Thanks! Please keep spreading my articles around, it really helps.
Best,
Martin
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