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Written + Produced By: Carlos Lima
Track List: Bad Monday, I’ve Been Missing You, Alpha Centauri, Darkmttr
Listen/Watch Here – Youtube
Directed + Edited By: Brendan Yates + Pat McCrory
Footage By: TURNSTILE
Additional Clips By: Ruben Preciado
Title By: Chuy Hartman
Vince Staples, the album by Vince Staples is an album about Vince Staples. While digesting the Long Beach, California native rhymes over the production coming once again from Kenny Beats, there is a fascination that comes from the seaside burial that Staples develops.
Growing up in a world of confusion and gunpowder, Staples is prolific on his self-titled album that spans only 22-minutes and two seconds. Forming a similar run-time to his other project, FM! which also featured Kenny Beats as the main producer and beatsmith on the record. Vince Staples is less about the fun of FM! and more about the danger of summer.
Opening with “ARE YOU WITH THAT?,” Staples is more direct than his previous recordings but still does not let the audience get too close. Describing with a closed fist instead of an open palm, Staples is far enough where he becomes this enigmatic narrator with small peeks into his life. Illustrating, “Niggas better hush, remember growing up, All I wanted was to be a thug. Wanted me a plug, to get a lil bread, shoot a couple niggas in the head.”
One thing about Staples is that his choice in production and keeping the attention to the instrumentals are always fantastic. Even going back to his mixtapes with Shyne Coldchain Vol. 1 + 2, or to the EP Hell Can Wait, Staples can always capture this method of danger through the sonics. Never forming to be too dark of a picture, his image is burned in the film negatives and seems to have this tired vibrance that is as deceiving as it is deadly.
Especially on the single, “LAW OF AVERAGES” where the stuttered production is able to be leaned from side to side in rhythmic, but still hypnotic steps. Kenny Beats who seems to produce just about everything that is intricate and interesting forms a symbiotic relationship with Staples on Vince Staples.
The way that Staples can orchestrate a story that is both personal and often times otherworldly begins to bleed into Beats’ production and formats almost as if it was the perfect storm.
The storm brews on “LIL FADE” which is about the closest thing to a club hit that Vince Staples holds. The writing from Staples is intimidating but reminiscent of his gap-toothed braggadocious nature. Rolling up like a tank to war, Staples illustrates, “Lil fade, trippin’ get ya whip sprayed. Choppa where my bitch stay. Shoot shit, pocket full of blue strips, blow it and I’m still paid.” As the production ramps up to become more and more gripping, Staples pushing into the second verse describing, “Wall calls, homies on the four-year. Running up the scorecard. Death threats, I ain’t lose a step yet, still hanging like a Warhol.”
The 10 tracks are a dedication to Staples and are his monument where the puzzle pieces of 3230 Poppy St. are starting to connect. While the mind still can’t fully grasp on who or what Staples embodies, he never seems to forget where he is from and why he is here.
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Guitar, Didgeridoo, + Vocals: Karim R.
Bass: Hugo O.
Drums + Vocals: Maxime M.
Synths + RE201: Lo Spider
Recorded + Mixed By: Lo Spider
Mastering By: Jim Diamond
Artwork By: Dead Flag
Track List: Proxima Centaury, The Way, Camel Ride, Into Orchard, Crystal Gazer, Zarathoustra, Jedid
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Listen/Watch Here – Youtube
Directed By: Jack Begert
Written By: Vince Staples + Floridaman
Production Company: Psycho Films
EP: Corey “Blacksmith” Smyth + Sam Canter
Producer: Emma Buerklin
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Track List: Good Day For Gortex, Jedi Country, Merrel, Padme, Force Spirit, Pressed Plants, Endor, Higher Ground, Ashla, Amidala, Pod Racing
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Engineered, Produced, + Mixed By: Evan Weiss
Mastered By: Timothy Stollenwerk
Cover Art + Design By: Hubert Guy
Cover Lettering By: Seth Bogart
Track List: Stranger, Lonesome, Memory, Witness
When discussing the marble monuments that make the foundations of hip-hop and the true visionaries of the genre, Finally Rich from Chief Keef takes a view from a Chicagoan 17-year-old who resembles a hustler’s spirit and rises to walls of plaques.
Opening with one of the most iconic first tracks in history, “Love Sosa” uses a sample from a Chief Keef fan addressing haters and people who say he isn’t really about it. Describing, and using the full quote out of respect, “Fuckers in school telling me, always in the barbershop ‘Chief Keef ain’t bout this, Chief Keef ain’t ’bout that,’ My boy a BD on fucking Lamron and them He, he, they say that nigga don’t be putting in no work. Shut the fuck up, Y’all niggas ain’t know shit. All y’all motherfuckers talkin’ about, ‘Chief Keef ain’t no hitter, Chief Keef ain’t this, Chief Keef a fake,’ Shut the fuck up, Y’all don’t live with that nigga. Y’all know that nigga got caught with a ratchet Shootin’ at the police and shit.”
The quote continues on to finish, “Nigga been on probation since fuckin’ I don’t know when Motherfucker, stop fuckin’ playin’ him like that. Them niggas savages out there, If I catch another motherfucker talking sweet about Chief Keef I’m fucking beatin’ they ass. I’m not fucking playin’ no more, Y’all know them niggas roll with Lil Reese and them…” When the longwinded sample finally finishes, what follows is one of the most popular and catchy hip-hop tracks of the last century.
The simple verse structure that describes, “These bitches love Sosa, (referring to Chief Keef), O End or no end. Fuckin’ with them O boys, you gon’ get fucked over. ‘Raries and Rovers, these hoes love Chief Sosa.” With this rattling hi-hat similar to an M-16 by Young Chop, the production is flashy and sounds perfect in a whip full of subs. The low-tuned 808s are practically a science to create serotonin for the brain.
Another track that amassed millions of views on YouTube and a remix from fellow Chicago native Kanye West, “I Don’t Like” is a rap song that could be played 50 years from now and still hit the same to a crowd. The energy from Young Chop on most of Finally Rich is electric, at the time was cutting-edge, and felt like a new advancement of youth into hip-hop.
With a chorus describing, “A fuck nigga, that’s that shit I don’t like. A snitch nigga, that’s that shit I don’t like…” He continues on until reaching topics like “Fake True’s that’s that shit I don’t’ like. Fake shoes, that’s that shit I don’t like.” The track comes off as repetitive on paper, but when heard for the first time omits this smile to the face, and images of weapons, shine, and a process in the making flash to the brain.
While Chief Keef is now a veteran of hip-hop and has been since the age of 16, but it takes some later cuts like “Laughin’ To The Bank” or “Understand Me” to take a spotlight off the flash of Finally Rich and show the energy that is unmatched into anyone else at the time. For the watchful eyes that came onto Chief Keef’s rise, hungry stomachs and a million more copycat style artists would follow after Finally Rich hit the scene.
So when Finally Rich turns 10 next year and the retrospective act is upon it, Finally Rich still is one of the most fun rap records even now. It takes the joy of being a young, successful shit-talker who can back it up and brings gold records to a battleground of sound.
Listen Here – BandCamp
Listen/Watch Here – Youtube
DIRECTOR: WOLF HALEY
DP: LUIS PANCH PEREZ
PRODUCER: TARA RAZAVI FOR HAPPY PLACE
Listen Here – BandCamp
Track List: Becoming/New Life Jam, Proven Wrong, Half Alive, Pick Your Fight, Who’s In Control, Unscrew My Head, Crossed, Wake Up, World Of Uncertainty (Sandman’s Theme)