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2 Chainz - "Based on a T.R.U. Story"

8/14/2012

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NEW MUSIC TUESDAY!


Spotify Listen Link: 2 Chainz – Based On A T.R.U. Story


2013 Grammy Nomination for Best Rap Album



Anyone else ever notice that there's never any less than about 20 producers on a rap album?

This is 2 Chainz' debut album, so kudos on a Grammy nod this early on. I think I've heard "Birthday Song," or at least have seen the video (thanks MacKenzie). It's released on Def Jam and features a hellova lot of guest artists, as we'll see as we go. And yet again, if someone could tell me if there's any bigger meaning to the title, I'd be most appreciative.


Lil Wayne starts things off with 2 Chainz for "Yuck!" Not gonna lie, got a little giggle out of the kid saying "yuck!" at the start. The beat's not bad, and the epic strings section in the back is always kind of awesome in rap music. I don't know what makes it so much more appealing with that section. Maybe it's a reminiscent thing of Puffy or Jay-Z, a.k.a. rap royalty. I also just realized the wind-downs are bleeps for the song… and that this is an edited version.




Well now that we spent the first song learning that 2 Chainz has something to brag about, and no idea what 'yuck' had to do with it, we move on to "Crack." Uh, what? Sigh, rappers confuse me sometimes. At least the mix is somewhat different, even if the rhythm doesn't really change all that much. I will find something good to go on about here though, I promise. I just need to hear the right lyric or beat or something. Anything.
"Dope Peddler" sounds so dog-on cute at the beginning until you hear what he's actually talking about. Also, 'dope' is blurred out - that's a new one. This is a whole other level of edited music. Anywhos, that kid-like sound continues in the back, and I can't tell if the start/stop nature of the music is due to blurring out words or if it was a stylistic choice… hmmm.





Drake
, the guy who beat 2 Chainz for the Grammy, is the guest artist for "No Lie." I'm trying here. The beat's good, but I keep tuning out on the words for no real good explanation. I know that hook in the chorus though - not sure why. Something about the notes falling down somehow.



"Birthday Song" may or may not have been the hilarious party video someone showed me at work. If it's not, well, it sounds like it'd fit into the video look pretty well. And at least the guy's honest about what he wants - a big booty call. Hand to God, that's what he's saying here. Kanye West is on this track somewhere too, which just makes the whole situation that much more hilarious. How does this stuff come about??





Yeah, "I'm Different" is for sure. But I guess he's getting at something about arriving at a party. The backing is simple, just a crash beat here and there and the top keys of a piano hitting along the way creating some sort of melody. Truthfully, sometimes I could care less about the words they're spitting out.

"Extremely Blessed" is awfully sweet. It featured The-Dream and just keeps this real sweet beat going behind it. The rap is, well, not what I would've loved, but is at least a little funny. "Our first date was the Waffle House" isn't really the most romantic thing in the world, and I think they're saying the girl's blessed - he's not really bragging about her from his heart.





Oh my god, you can't possibly keep from laughing at this title, "I Luv Dem Strippers." Also, it took me three attempts to type that correctly. And oh the piece de resistance - Nicki Minaj is the guest artist. Too good, too good. Hahahahahaha.

"Stop Me Now" totally had me fooled for a commercial when it first came on. I didn't expect and R&B song on the album, and Dolla Boy brings in a little different song. While I still don't love the song, it's not a bad music base behind the rest. It's almost got a serious tone - a welcome difference. It at least makes the song a little more digestible.

Please let "Money Machine" be some kind of rap power song and not all-over ridiculous. Man, I just don't know. I try to be open to anything and everything, but sometimes the same thing for an entire album just starts to go over my head. Concentrating on this bridge/chorus though. Okay, it sounded like he was going to be said money machine, but then he says he needs one. Oi vey, I need rock music. Haha - "if swagger's a crime I'd be going life plus 30."
Mike Posner? Where you been?? "In Town" includes him singing some light little bit leading in. The rap is lighter to, which is sort of a relief amongst the loud-ness that probably would have been playing if I put my volume up louder. It's a half-decent song actually.


Oh and we're back to the usual. John Legend is on board though, with his sweet voice, along with Scarface, for "Ghetto Dreams." I think these songs about hard lives and moving up in the world have sort of grown on me. Maybe it's from listening to them on every flippin' rap album ever, but at least there's a consistency in the genre. I may be off about that meaning, but whatever. Music's what you need it to be.
 "Wut We Doin?" includes Cap 1. Phonetic spelling, yay. Basically a statement of what he likes and doesn't. Nothing majorly deep going on here, just a lot of semi-cleverly put together lines.



Well, as much as I don't adore the guy, it's kind of nice to hear Chris Brown's voice again for "Countdown." He brings something a little nicer to a straight-up rap song. Not much to say about the song itself however, other than it's pretty damn loud and in your face and seems more like an album starter than an enter.
"Like Me" is… okay, I've got nothing. I want to find something here, but I'm totally zoning out. Isn't that normally what instrumental music is for? It's an interesting back and forth on the recording though. The sung chorus has the old vinyl sound but the rap is completely new and clear and loud. It's just odd to hear together, but maybe that actually sort of works for it? And hey, look, it gave me something to talk about. Sigh. We're in the home stretch here folks.

I just scrolled down and saw the real, explicit tracks. That may have helped this whole thing so there wouldn't seem to be as many holes in the album. "I Feel Good" has a sweet throw-back sound. All right, I can respect the mixing on this one. Actually, this whole thing is kind of clever and got a great sound. It's a surprising gem on the album.





"Riot"
just ends it. I don't know how to interpret this one, but it's there. He just ends with this real hard and tough song that I guess is sort of a personal anthem and sort of a "here I am to take over" theme. Well, we had a few good ups at least. And at least I don't have to try to figure the rest of this out now.

Added to My Playlist:
  • "In Town" (feat. Mike Posner)
  • "I Feel Good"

I'm not… not a rap fan. That's not my issue. I just know good rap when I hear it. Sometimes 2 Chainz does a great job, but I may be picky in this genre and a loyalist to the top guys in the game. It's tough to buy in to a new artist, and that's what's keeping me hung up from this guy. Overall, a good start of a career, and here's to hoping it only gets better.

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The Lumineers - "The Lumineers"

8/7/2012

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NEW MUSIC TUESDAY!

Spotify Listen Link: The Lumineers – The Lumineers

2013 Grammy Nominations:
  • Best New Artist
  • Best Americana Album

This is a band that obviously hit mainstream music with one big hit, and we're all left wondering if there will be just as good follow ups. It is also a band to get very excited about, as they have managed to breakthrough with something pretty great and still slightly unique in today's music industry. 

I'm trying to get back in to looking at band websites when intro-ing them. This one keeps it fairly classic and simple, mostly in black, white, and sepia. I'm most interested in their background, and obviously something was drawing me in because bandleader Wesley Schultz is from Ramsey, NJ, a suburb of NYC. They tried their hands up my way and it just was so cutthroat and unrelenting that they wound up packing it in and headed out to Colorado. Lucky bastards. He and Jeremiah got their cellist, Neyla, from craigslist, so go figure - dreams do come true on the Internet. They say that roots coming back to music have primed people to hear their music, hence their great fit in the business now.


"Flowers In Your Hair" seems to lightly ease us in with a very Mumford & Sons sound, though I guess the natural assumption is that this band is another version of them. How can you not sort of make that comparison? They do add in this drum beat that separates them out and gets your blood pumping just a little faster as the song goes on. Actually, I find myself smiling just a little more and more as it goes on. Fun times ahead. =)





We follow that up with the slightly-live sounding "Classy Girls." Seriously, there's background noise going on that makes the whole thing sound like it was recorded in a bar or the corner of a department store. It's a cute simple song I suppose. It does build up as well, which may or may not be their style - let's see where this takes us.

"Submarines" comes on in with a cute piano rhythm behind it and a confused girl here wondering what we're getting at. I'm sure I'm missing some sort of deeper meaning here, right? Symbolism in submarines and what not. Maybe it's because I'm also watching "Across the Universe" to the side here that's throwing off my perception a bit. I'm looking for Beatle-esq meaning and I have a feeling that's not meant to be found in this particular track. At least the drums sound great.

If you've heard "Hey Ho" (only a song away) you're already very familiar with the recording style used on this album. Yes, the echo and short stops are used frequently, including in this song, "Dead Sea." It's not a bad thing, it's just noticeable. There's a stringed instrument that comes in about halfway through this song though that adds a really classy element and depth to the music itself. 




"Hey Ho" may, quite possibly, be one of the sweetest songs ever written. I haven't even seen "Silver Linings Playbook" and I feel like it fits the mood perfectly, even just off of the trailers. It's got a fantastic tap-along beat, and the chorus is perfectly catchy without  getting annoying. It's just an all-around impressive song and the band made an absolutely brilliant decision by putting it out as the first single. Brilliance.
And the rest I've never heard. "Slow It Down" certainly does that. This is the moment in the concert when the other band members quite possibly take a break while one man takes on the stage and entertains us. It gives everyone the moment to breathe, refresh their drinks, or take in that one thoughtful moment that will actually make this evening memorable and relatable to their own issues. I say all of this because the recording sounds like that exact moment - live and hollow in a way a live venue normally gives the sound.


"Stubborn Love" gives a nice transition back into the full band. If I'm not mistaken looking at the website, this is also the second single. It doesn't catch you as much musically like "Hey Ho," but there's a good general beat and the lyrics are something to take to heart. This is a song that comes across more like a conversation then a point to be made, which is kind of nice and relatable. Something' infectious here for sure.
We're in the home stretch here. "Big Parade" almost wants to get revved up and going fast from the start, but he pulls things back in with more serious sentiments. If they're not serious, they're at least more solemn. I just took some meds for my toothache, so some words are being lost on ears, sadly enough. Okay, zoom in ears, come on.

"Charlie Boy" has an old Irish folk song sound right off the bat. I could do without the echo, but will suffer through the less-than-wonderful vocal effects for the sake of music. Back to that folk tune point I was making. This is slow in every way, with the instrumentation just barely on as it goes along and a melody that simply goes up and down with little-to-now embellishments. I always speak too soon though - at around the 2:00 mark, things pick up ever so slightly with instruments drawing in a faster rhythm. And then it get slow again. And there go my feet being confused.
I wasn't paying much attention to "Flapper Girl." I mean, I think I get the general point - he wrote a song for a girl he likes and wants her to write back and let him know she's still his girl. There's some sort of comparison to Romeo and Juliet in there as well. Musically, very adorable. The whole piano line skips up and down in a way that I remember sitting at my piano just making some noise on the keys, trying to entertain without playing plain ol' scales.

A little strange to have a song called "Morning Song" end an album. But it's slow-going and gives a solemn ending to the whole thing. It's nice background music, I have to say, but nothing terribly enlightening happening. Just a nice wind-down of sorts, playing us off into the night with their sweet folk style as we roll along. 


Added to My Playlist:
  • "Flowers In Your Hair"
  • "Dead Sea"
  • "Hey Ho"
  • "Stubborn Love"
  • "Big Parade"

Well folks, I'm sleepy, which I'm sure doesn't help anything when you're reviewing an album that moves slow and steady like this. It makes for nice end-of-the-night music, though getting much more than the two that are out played on mainstream radio could prove to be a little tough. However, given that that's probably not the ultimate goal here anyway, these guys should be just fine as long as everyone keeps listening to music.

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