Ya Know The Rules 4. Exhibit B 5. Beef 6. Exhibit C 7. House Nigga's 8. Love Is Gonna Get Ya 9. Ya Strugglin' - featuring Kwame Toure Breath Control Exhibit D Edutainment Homeless, The Exhibit E Kenny Parker Show Original Lyrics - featuring Special "K" Racist, The Exhibit F Pharoahe Monch — Internal Affairs Behind Closed Doors Queens Rape Simon Says Official Hell Feat.
No Mercy Feat. Right Here The Next Shit Feat. Busta Rhymes The Ass Feat. Apani The Light God Send The Truth Feat. Simon Says Remix Feat. The Boomin' System Around The Way Girl Eat 'em Up L Chill GoodBar Murdergram Cheesy Rat Blues Farmers' Blvd. Our Anthem Mama Said Knock You Out Milky Cereal To Da Break Of Dawn Illegal Search The Power Of God Freestyle Fellowship — Innercity Griots Everthing's Everything Six Tray Danger Cornbread Way Cool Hot Potato Mary Park Bench People Respect Due Pure Thought Bonus Track Redman — Muddy Waters Iz He 4 Real Rock Da Spot Welcome Interlude Case Closed Pick It Up Smoke Buddah Whateva Man Chicken Head Convention Skit On Fire Do What Ya Feel The Stick Up Skit Creepin' Da Bump Yesh Yesh Love 4 Lovin - Various - Total Dance Mix 95 (CD) What U Lookin' 4 Soopaman Luva 3 Interview Skit Soopaman Luva 3 Rollin' Da Ill Out What's On Your Mind Teach The Children Pass The Hand Grenade Casualties of War Rest Assured The Punisher Relax with Pep Keep the Beat What's Going On Know the Ledge Don't Sweat the Technique Kick Along Dr Dre — Lolo Intro Feat.
The Watcher Feat. Fuck You Feat. Still D. Big Ego's Feat. Hittman Xxplosive Feat. Love 4 Lovin - Various - Total Dance Mix 95 (CD) The Difference Feat. Bar One Skit Feat. Traci Nelson, Ms.
Light Speed Feat. Forgot About Dre Feat. Eminem The Next Episode Feat. Let's Get High Feat. Roq Bitch Niggaz Feat. The Car Bomb Skit Feat. Murder Ink Feat. Ed-Ucation Skit Feat. Eddie Griffin Some L. Niggaz Feat. Pause 4 Porno Skit Feat. Jake Steed Housewife Feat. Ackrite Feat. Bang Bang Feat. The Message Feat. Organized Konfusion — Stress… Stress The Extinction Agenda Thirteen Black Sunday Drop Bombs Bring It On Why Let's Organize feat.
Keep It Koming Stray Bullet Maintain Murder Rap Untouchable Another Execution Menace to Society Freedom of Speech The Last Song Digable Planets — Blowout Comb The May 4th Movement Starring Doodlebug Black Ego Dog It Jettin' Borough Check feat. Guru Sarah Anne Webb The Art Of Easing Graffiti feat. Jeru The Damaja Blowing Down Jazzy Joyce For Corners feat. Monica Payne Camp Lo — Uptown Saturday Night Krystal Karrington Luchini aka This Is It Park Joint B-side To Hollywood feat.
Killin' Em Softly Sparkle Black Connection Swing feat. Ish aka Butterfly Rockin' It aka Spanish Harlem Say Word feat. Jungle Brown Negro League feat. Nicky Barnes aka It's Alright feat. Black Nostaljack aka Come On Coolie High Sparkle Mr.
Midnight Mix Life After Death Intro 2. Somebody's Gotta Die 3. Hypnotize 4. Kick In The Door 5. Kelly 6. Last Day - featuring The Lox 7. What's Beef? Interlude Niggas Bleed Notorious Thugs 2. Miss U 3. Another - featuring Lil' Kim 4. Going Back To Cali 5. Ten Crack Commandments 6. Playa Hater 7. Nasty Boy 8. Sky's The Limit 9. World Is Filled My Downfall - featuring DMC Long Kiss Goodnight Tariq's Dilemma Intro Pain feat.
How It All Started Steady Slobbin' feat. Breeze Just Another Day What U Got The Demo feat. The Hustle's On MC Hustler feat. Riding hard for her bitches, she won this race and gave ladies something to quote all year long. The song launched with a video—a neat idea given the long-overdue need for grime's visibility in the States—with cameos from a bunch of dudes, including J-Cush, Visionist and Sporting Life, rolling joints, drinking cans, and leaping around on a Brooklyn rooftop.
That's a turn-up wherever you're from. This year I read one of the most important books I've ever read. That's the idea that we're all on treadmill of consumerism, repeating the same actions over and over, which renders the possibility of progress—of a future—impossible. Nestled inside is a passage about how, in the late '90s, Dr. Eric Schmidt, the future CEO of Google, declared that "the dominant global corporations would be those that succeed in maximizing the number of 'eyeballs' they could consistently engage and control.
He was right, though. There is a constant war waging behind our screens, a battle for our likes, our faves, our shares, for our attention; control our attention and you control us. While Holly Herndon's single "Home" concerns itself primarily with the all-seeing eye of the NSA—I know that you know me better than I know me, she sings—I can't help thinking of the steely gaze of today's corporations when I listen.
In observing our online behavior and gathering data on our identity, companies are uncannily able to predict our every need and whim—just think about the increasingly on-point sponsored tweets that pop up in your timeline. It might be a little clumsy right now, but the machines are getting smarter, and we're letting them, all in the name of convenience. In addition to being a highly intuitive reader of our times, Herndon is also one of our most savvy pop scientists.
Though I'm pretty sure Alex G named "Harvey" after a six-foot-tall rabbit from the s dark comedy of the same name, he could just as easily be singing about a kid: a little brother, a neighbor, a younger version of himself. In the song, Alex does his best to protect Harvey from life's cruel realities.
He plays tag, provides comfort after a nightmare, says, "I love you. As with Alex G's best songs, "Harvey" unfolds like a tuneful, clumsy rehashing of your own small-town memories; you're meant to empathize with the song's narrator and little Harvey at the same time, relating to this idea of longing for grown-up success while still feeling—in a lot of ways—like a kid yourself.
How do you tell someone to act like a "big boy" when you get bad dreams sometimes, too? Love 4 Lovin - Various - Total Dance Mix 95 (CD) there's any one lyric that encapsulatesit's I made it on my own, I made my own style. In the link-sharing economy of the present, centuries-old qualifiers like singing ability and songwriting profundity have given way to judging how downright interesting you are as a human being: do I want to look at your Instagrams, and if I do, do I want to hear you?
It's hard to compare what he's doing to his straight-ahead hip-hop peers, but this year Makonnen stretched the edges of his genre even further, and rap is better for it. Hear 10 slept-on hits from Makonnen's back catalog. While EDM reached new heights of economic omnipresence inone of its youngest, most promising stars was scaling a different mountain.
Porter Robinson's debut LP, Worldsdrew from the North Carolina-born producer's starry-eyed, breakout single, "Language," to explore environments heretofore largely untouched by festival-culture dance music: namely, bighearted electro-pop.
Accordingly, the digitized sincerity of "Sad Machine" captures the type of limitless, open-world expanse that couch-bound thrill-seekers constantly chase. But the first time I heard "Look at Wrist," the hit that preceded that release, I slept. It was during the height of my iLoveMakonnen intoxication, when I'd spend weekends bouncing around my living room to "Hold Up" and "21st Street," and I barely registered anyone else sharing space with him on a beat. But that's exactly what makes Father so special: his flow is so shiftless and light that his verse has started before you even notice it, and it takes four listens before you realize he really said guess that'll be our little secret about his girl's abortion.
His comes off as genius disguised as ignorance, as all my favorite art does. Read the abbreviated oral history of Awful Records. In the first few seconds of "Heaven," Nate Grace, co-vocalist for the psychedelically minded folk-rockers in Pure Xposits that heaven isn't a physical place that you reach postmortem—it's just a state of mind.
But even if you can't necessarily go there, Grace says that the feeling is "one [he] can believe in," a surprising sentiment coming after the harrowing emotional turmoil of Pure X's last album, Crawling Up the Stairs. After years of personal strife, marked not the least of which by a devastating breakup and Grace's horrific skateboarding accident that resulted in a severely broken leg, Angel represents Pure X coming out on the other side of a personal hell, and "Heaven" functions as an uplifting centerpiece.
It's Pure X with all the edges smoothed out, each guitar line narcotized and staid, and Grace's typically idiosyncratic vocal tamed by carefully placed dabs of reverb. By the time the first few fluttering slide guitar lines show up, the band's begun forming the weightless sort of instrumental you might associate with the celestial title; so when Grace and Jesse Jenkins launch into a proper solo, "Heaven" turns into the rare track that's actually almost transportive enough to elevate you from your grubby physical state.
So even if it isn't a place—not even one where nothing ever happens—Pure X make a good case that "Heaven" might be a worthwhile concept anyway.
Jeremih seemed to have a particular interest in keeping things on the low this year. Sadly, the whereabouts of his wildly anticipated third album have been as mysterious as his romantic dalliances. Months after the YG -featuring track dropped on SoundCloud, it has been remixed a handful of times, served as inspiration for many a YouTube choreographer, and spawned a Lorde cover—all without a video to promote it, the absence of which has been attributed to circumstances Jeremih takes responsibility for but declines to divulge.
Other than the shock-and-awe effect of the song's interpolation of "Rhythm Is a Dancer," "Don't Tell 'Em" doesn't offer a particularly original premise: Jeremih woos a partner with promises to fuck you like no other.
More than the uninspired lyrics, though, it's his steady, inviting delivery and loose, nimble melodies over Mustard and Schultz's synths and claps that made "Don't Tell 'Em" this summer's body-roll anthem, that rare track that sounds as perfect blaring out of passing cars as it does in the recesses of a late-night dancefloor. Halfway through writing these tracks up, I realized that all of my picks were about identity in some form or other.
While the aforementioned Holly Herndon highlights a very contemporary concern, Sam Smith is caught up Love 4 Lovin - Various - Total Dance Mix 95 (CD) an act that's as old as the hills: hiding in the wrong person's arms out of the fear of having to face oneself.
In The FADER's interview with producer Jimmy Napes, he revealed that it was Smith doing all the vocal parts for the chorus, running into different corners of the studio and singing to build up a choir of voices for the line stay with me.
It makes me think of the songwriter's mantra that the most personal things are the most universal. It's tough to dissociate Shamir's "On the Regular" from its playful music video: both are loaded with bright bursts of color and confidence, featuring the Las Vegas goofball acting his age he just turned The uptempo instrumentation, all metallic cowbells and squelching dance punk beats, is the epitome of fun. In the official video, Shamir vividly pulls off tie-dye, suede fringe, and oversized Coke bottle glasses, brandishing both a whip and a rubber band gun—but when the track slows for a sweetly sung bridge, Shamir's only weapon is his unearthly warble.
Experienced simultaneously, the song and clip feel like a one-two punch statement of purpose: World, meet Shamir—there's nothing "regular" about him. Who do you fuck in the city when I'm not there? Drake asks on "Recognize," and it lands like a lost stray from Take Carewringing something that sounds like affection out from layers damp with lust.
It carried all the way through to winter for good reason. It's all in the title, really. Boom, boom, boom, clapCharli XCX shouts, mimicking the body's most vital organ for a soundtrack to a movie that essentially rips out that organ, stomps on it, and seasons it with your tears. Against those, "Boom Clap" stands out for its elegant simplicity, using a few soft-padded synths and some hollow, arena-sized drums to create an echo chamber for soft-mic'd verses and a planet-swallowing chorus.
Before any of those things happened, though, a little-known Brooklyn electronic artist called Lafawndah took a certain section of the music internet by storm with a track called "Butter. But what really made "Butter" feel like a revelation was its no-holds-barred sexual frankness, sweeping us up into a chaotic whirlwind of crunkin' bones, bangin' teeth, and tenderized flesh, evocative of both pleasure and pain.
To top it all off, Lafawndah's voice sounded just as raw and uncontrolled as the intimate pas de deux she was singing about; among other acts of empowered self-exposure this year, "Butter" had the particularity of refusing to be pretty. Released on the cusp on Memorial Day weekend this year, Blaze's "Uptown Julie Riddim" primed us for all the fleshly joys of warm weather.
The Flatbush, Brooklyn producer and singer built the sun-soaked beat and invited artists from across the Caribbean to draw out its sensual energy. The result was four singles, each enriching the riddim's flavor profile with something new.
There was "Endless Summer," with Trinidadian groovy crooner Kes beckoning on non-stop vibes, then "Sell Off," where Zoelah's piercing vocals demanded sexual satisfaction. Too smart to let a good thing pass him by, Blaze jumped on the riddim himself with "All I Need," a sugary ode to proper dance floor grinding.
But it was Gyptian's "Stunta" that summoned the most provocative visuals of all, toasting the ladies that love to ride on top. Taken together, the four-song suite helped us get through the summer, one lazy, lusty goal at a time. As Future proved this year, he is definitely not perfect —but the sentiment expressed on this Honest outtake was one that resonated regardless, as Future and Ciara reconciled and the Carters renewed their vows.
In a year where Future's official releases too often left something to be desired, "Good Morning" sounded like the return of the bleeding-heart-cyborg-love-song that he does so well. Read an interview with Future. That's in part because of their teenage exuberance: at 19 and 20 years old, they both look and sound not yet fully grown. Fold that into their distinctive, yelping flows and the driving production—full-bodied swing on the bottom end and chiming simplicity floating on top—and you get an earworm with just enough adolescent sweet and sour to make it feel unusually fresh.
No wonder it ended up everywhere: cue Tracee Ellis Ross rapping along on Instagram and following that up with a longer YouTube upload examining her fascination with the song; a remix featuring Nicki Minaj and Pusha T; a party-starting appearance by the duo opening up the BET Hip-Hop Awards; and Solange and her year-old son Daniel Juelz sharing a choreographed dance to it at her wedding. With Rae Sremmurd, Mike WiLL maintains his position as hitmaker in masterful possession of his own production sound, but it's clear he feels particularly invested in these two, who he brought down to Atlanta from Tupelo, Mississippi.
Rae Sremmurd is even Ear Drummers spelled backwards, the name of Will's label and crew. With the duo's SremmLife LP due early next year, it seems these trendsetters and go getters are just warming up.
Vine, it turns out. The song's success really comes down to his voice—and, holy shit, that voice! With no obvious vocal manipulation, OG Maco feels out of step with artists like Young Thug; instead of turning his voice into something alien-sounding, Maco yells and mutters in a terrifyingly human way.
He says maybe 40 words total, his James Brown bark crushing and re-molding the simple piano plunk until it becomes anthemic. It might not ever reach Austin Powers -level ubiquity, but it doesn't need to. Over the summer, Chance the Rapper released a sunny, sprawling rendition of the theme song for the beloved s PBS series Arthur after performing it live at Lollapalooza.
The original was a fleet riddim performed by Ziggy Marley and the Melody Makers ; comparatively, Chance's take is blown-out and indulgent, featuring a jazzy instrumental by his live band the Social Experiment as well as a lapping choir of background vocalists, including Jessie Ware, Elle Varner, Wyclef Jean, and Francis and the Lights.
Even in the polyphonic, idiosyncratic musical climate ofDan Bodan comes across as a bit of a weirdo. Since then, the Berlin-based Canadian transplant has proved impossible to pin down, folding in jungle motifs, lounge melodies, the drizzling-rain ambience of Pet Shop Boys' more downcast material, the alternate-universe crooning of '70s Scott Walker, and so on. Bodan's own impressive vocal range, however—which effortlessly slides from a dusky baritone to a slippery, mid-level croon—lends the tune its own affecting stamp, his voice doing acrobatic flips over fluttering electronics and and some sneakily catchy bass line ooze.
When the music critic Jody Rosen coined the disparaging, era-defining term "bro-country" last year "music by and of the tatted, gym-toned, party-hearty young American white dude"it was with Florida Georgia Line as prime example.
On the band's followup, Anything Goesnot much has changed to Florida Georgia Line's booze-soaked formula, with the exception of one unexpected, brilliant, classic-sounding country song, "Dirt. It's about time passing, mortality, forces bigger than yourself. Jesso Jr. That said, "True Love" isn't about showy gestures; instead, its charm comes from having its heart on its sleeve There's a constant tape hiss in the background, like you'd find on a cassette you might unearth in your parents' attic, maybe a mixtape that your first boyfriend made for you way back when.
It's enough to make you wonder what he's up to now: Is he with someone? Is he happy? Does he still think about you? And at once "True Love" becomes personal; no longer do you find yourself eavesdropping on two lovers having a conversation, but you become the one gently pleading, Do ya, do ya, do ya want me?
The first time I heard this remix of Tunji Ige's "Day2Day," even the frailty of laptop speakers couldn't put a damper on my unmistakable thrill. The song starts with dark, echoing dub synths and drum pops that seem to stumble out of a deep sleep, then awakens to Ige's swinging boast about how he's gonna steal your girl, light one up, or fall in love—it's not a thing.
His raps have more than a passing resemblance to Kid Cudi, and "Day2Day" has more than a passing resemblance to Cudi's initial hit, "Day and Night," but for a year-old like Ige, that is a comparison to embrace, not run from. Because it's what happens on the rest of the song that gives Ige's future great promise and what made me find some big-room speakers to bump it over and over again : his drowsy, self-produced beat turning into a house groove; the bubble of Mikey Xmas ' morning-wood fantasy getting popped by his mom; Makonnen's effortless ecstasy brag-rap.
A jam like this does not come along every day. When I want to get all whoaaaa man about the relationship that rap has with the music industry at large, I think about Vince Staplesa Los Angeles-based rapper who is now on Def Jam and is making intensely angry, well-constructed tracks that are political without being preachy, honest without being cloying.
He feels important and not remotely like a commercial success story. Case in point: "Blue Suede" is like a flare being shot from the middle of a riot. It is not an easy listen. There's no good time for a harsh G-funk synth whine, but that's sort of the point.
Music doesn't have to be pleasurable, and Staples knows that. Is he going to be the leader of a new movement in rap? Who knows. It's possible, but it's not guaranteed. Whatever does end up happening, "Blue Suede" is a line in the sand. Either you're with him, or you're part of a hostile America. Maybe that's a bit extreme, but maybe that's the point we're at—especially when everything else feels like a dead end.
To share a song with Young Thug and not be made invisible requires charisma and stamina, but most of all, a huge amount of not-just-for-show confidence. I went from rags to riches to a feature with T-I-Phe says before name checking the King of the South two more times.
Tip plays conductor, exclaiming Turn it! Springing to life with the combined energy of Thug, T. Don't worry whether or not you're able to sing along perfectly with every syllable. Drinking non-stop for two days? All good! Wearing pasties or glitter in lieu of clothing? No problem! Wanna wiggle your butt in front of an wheeler? The more cheeks, the merrier! If you look closely enough, for a split second, you'll find me yes, me doing all of the above.
I can testify to you first hand that the soca star's truck did indeed have the wickedest vibes and baddest sound system on the road. It was sheer fate, and drunkenly stumbling across an open field, that landed me at the foot of Bunji's truck, jamming to his massive hit long after all the other trucks had cut off their sound and dimmed the lights.
There, Soft Cell's version was recorded in a day and a half with Almond's first vocal take being used on the record. It was good for the dance floor, but I didn't like the record The Soft Cell recording features a slower tempo than Jones' version and is in the key of G rather than the original C to match Marc Almond 's lower voice. Synthesizers and rhythm machines replace the original's guitars, bass, drums, and horns. Phonogram Records chose to release "Tainted Love" in as Soft Cell's second single their first was "Memorabilia", which did not chart.
Buoyed by the then-dominant new wave sound of the time, "Tainted Love" became a major hit in the US during the Second British Invasionwith the song spending a then-record breaking  43 weeks on the US Billboard Hot It appeared to peak at number 64 and fell to number on February After spending a second week at numberit started climbing again.
It took 19 weeks to crack the American Top 40 and reached number 8 during the summer of A re-recorded version of the song was issued inseven years after Soft Cell's dissolution inas a tie-in to the compilation album Memorabilia — The Singles which reached number 8 in the UK albums chart in June The video for the version, directed by Peter Christophersonfeatures a man pacing at night and dancing with starry apparitions, while Almond sings amongst the stars.
Award for Best Single in and won the Kerrang! Award for Best Video. From Wikipedia, the free encyclopedia. New wave  synthpop . Mainstream rock active rock alternative radio. Maverick Warner Bros.
Retrieved July 25, Retrieved October Love 4 Lovin - Various - Total Dance Mix 95 (CD), You Heard It Here First! CD booklet. London: Ace Records Ltd. CDCHD Okay, let's clear this up once-and-for-all". Retrieved April 21, Listverse Ltd. Retrieved April 10, August 8, All Media Network. Retrieved June 24, Soft Cell: Tainted Love.
The Stereo Society. Retrieved April 20, Sound on Sound. Official Charts Company. Retrieved August 31, You Send Me. Love Me Tender. Teenager in Love. Blueberry Hill. Dream Lover. Tears on My Pillow. Reet Petite. Come Softly to Me. Tell Laura I Love Her. Since I Don't Have You.
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