Watch the Throne Drops, Bloggers Jizz Themselves.
At this point in time, it evidently takes something monumental to warrant a blog post from the still.grimey set; I would surmise that Jay-Z and Kanye West making an entire album together would qualify for said adjective. As an overall review of the album, I really fucking like it, despite the fact that some of my internet peers (yeah, I'm looking at you WULU) don't really like Watch The Throne because of some weird rhetoric they've established for listening to rap musics (you can see his take on shit here and here). Given Hov and Yeezy's inclination to compare themselves to Michael Jordan, it's not surprising that the album itself has striking similarities to Jordan's Hall of Fame induction speech. There's really no argument that these guys are the best in their respective categories, MJ on the hardwood, Jay in the booth (my still.grimey co-conspirators/ Nas Stans are up in arms "He's not the best, FUCK YOU GREEZY!"...fuck y'all, though), and well I think we can all acknowledge that Yeezy is on some next level shit right now, especially from a behind the boards aspect. However, it seems that they are all seemingly jaded about something still, like it's not enough to be openly acknowledged as the greatest, that they still feel like they have to shit on their competition. I'm not complaining though, I love me some brazen asshole-ery.
"No Church in the Wild" - Featuring Frank Ocean
Good sounding beat to start out the album, then Frank Ocean comes in and shit starts sounding a bit on the melodramatic side and it fairs on the side of preachy, but the beat is just heaters, so the chorus is a small concession to make for it. Yo no homo, but I fucking love Yeezy verse on this track. I'm not exactly sure when the transformation occurred in his career, but at some point he just became obsessed with misogyny and drugs and the party, and just the tone of his voice is a vast departure from 808s and anything before that. I mean, a line from this song already appears in your daily twitter feed with people expressing their thoughts on last night and feelings today: "Sunglasses and Advil, last night was mad real".
So far the album is off to a good start, and the jungle sounds at the end of this track are kind of ill, as well.
So a lot of people are curious about the little musical interludes that often find themselves acting as transitions between the tracks. My take? I think that it's an MJ-HOF-esque "fuck you" to the critics, other rappers, bloggers, whoever, basically giving them time to marinate in what they are listening to. I think I like it. I also think that if I ever get really stoned and listen to this album I might space out and think I'm listening to a DOOM album or something. Though I suppose if I'm really stoned I would immediately forget this whenever the next track would come on. I digress.
"Lift Off" Featuring Beyonce
Look, I think Beyonce is very talented and frustratingly attractive, but this song kind of bores me. Shit sounds like something that could have been left off Graduation. Though I gotta say, the beat from the 1:40-1:50 marks is pretty hot, no denying that. Both dudes sound hella choppy over this beat, let's go to the next track, I'm fucking bored.
"N****s in Paris" (when you're a whiteblogger person you really don't want people to associate you with using the N-word. Doesn't really build the best rapport).
Yo, I swear, as soon as the screwed up "Ball so hard motherfuckers wanna fine me" comes through my headphones and the beat drops, I compulsively start shaking my head. This track is great. As my boy Stephan Varady pointed out: this is one of the greatest song titles of all time.
Kanye is also decidedly thoughtful on this track, offering up his relationship advice to Prince William, as well as asking the important questions like: "What's Gucci, my n***a? What's Louis, my killa? What's drugs, my dealer? What's that jacket, Margiela? " You know, the ones that most people are afraid to ask.
And then the beat flips and Yeezy's got his crackers in Seattle, and we goin' gorillas.
The Roc Boys are definitely in their zone on this one.
"Gotta Have It"
First of all, I'm not sure what the deal is, but I swear I can hear 'Ye hitting the MPC pad every time the James Brown sample comes in on the chorus. I don't like that. Like, at all. And I'm not sure that I like the "ooooo" or whatever the fuck that is in the background. But the overall use of the sample is pretty fire.
I also am really feeling the back and forth on this one. I always enjoy this technique when properly employed. Well done, sirs. And then the second verse Jay is getting his BK goon on and issuing threats.
While I enjoy racks on racks on racks, Maybachs on bachs on bachs on bachs on bachs, I fucking hate planking...even if it's on a million dollars.
But they're right, as of now, this album's got what we need.
"New Day"
Not exactly your typical RZA production, but I'm into it, solid beat/sample, and I'm feeling the whole "Me and the RZA connect" thing. Kanye's first verse pisses me off, it's so fucking see through. You can tell that from the beginning of the song that he's ultimately going to say something about how hard his life is. It's like yo, you are rich as fuck, you are the best producer in the game, you are making an album with Jay-Z, like an entire fucking album with Jay-Z, we DO NOT feel bad for you.
It also just kind of creeps me out that they are, in essence, talking to their sperm, because neither of them has children. Also, Jay is getting pretty old, like he'll be damn near 60 by the time his kid graduates if he gets Beyonce pregnant TODAY. So now this song just freaks me out.
"That's My Bitch"
I know this came out a while before the album, and to be honest, I didn't really like it that much then. But now? I actually like this shit. Chorus is mad catchy, what's good La Roux? Both dudes do their thing on this one, I don't really have much of an analysis beyond that. Thank god right? I be long winded and shit.
"Welcome to the Jungle"
Honestly, like what the fuck kind of bet did Kanye lose that he has to let Swizzy dance around with his Louis rag, and ruin the chorus on at least one song per album. Jay's second go around is a nice homage to fallen soldiers as well as a quasi-interesting introspection to his thoughts/life. But then you hear Swizzy again and you actually agree when he goes "GOD DAMNIT!". At least that's my initial reaction any time I hear Swizz Beatz voice. It's like you get to have sex with Alicia Keys, isn't that good enough for you?
"Who Gon Stop Me"
Aside from how uncomfortable it makes me to hear a practicing Catholic compare his music to the Holocaust (though Yeezy recently said people look at him like he's Hitler...what?), this shit goes so hard. I think it's my favorite song on the album. Especially because it's fighting against dubstep remixing, by taking a sample from a dubstep track and using it in a hip hop song. I HATE DUBSTEP, so this is a definite win for your boy. If I am drinking, I absolutely need this song to be playing at wherever I'm at. Though if it's your house, I would advise against it, because I might start smashing shit. And if I do? Who gon' stop me, huh?
And then the beat flips, and I lose my mind, and I think Hov might have lost his, too. I like, really, really like this track. And then it flips again and the synths start climibing...okay, I'm going to get some water.
"Murder to Excellence"
This shit is mad real, no Advil. This is one of the more interesting songs I've heard, especially as of late. Pretty insightful as well as inspiring, which is a nice break from the belligerent opulence of the first half of the album, not that I don't enjoy that shit. Always nice to hear some social commentary from people that have such a large platform and with a wide ranging reach. Kanye consistently flipping his beats halfway through the tracks is fucking great, too. It's something that I don't think I'll ever tire from.
"Made in America" Featuring Frank Ocean
First of all, shouts to Frank Ocean for getting on this album twice, that's a feat in of itself. I can appreciate the message of this song, kind of building off the inspirational aspect of the tail end of the last track, but I think the song is kind of corny. I mean, I'm not going to skip over it, because sometimes you need some cheese in the mix, but this shit is also kinda preachy, and I don't really get down to that. And Jay's continual "uh" after each bar drives me up the fucking wall.
Okay, I lied, I'm skipping to the next song.
"Why I Love You"
Despite the fact that name of the track is reminiscent of Mario (yes, that Mario), this song is pretty fly. The chorus goes hard, and I love the beat. I get kind of bored of Jigga on this track, to be honest, and just wait for Kanye to get on. I feel like this happens occasionally on the album, where I get bored with one of the dudes and the other one has to pick up the slack. I guess they are really sticking to their LeBron James/D-Wade analogy from "Gotta Have It".
And then there is just this long ass pause. Like they are letting the competition catch their breath. I guess it's nice because now I can write without music pulsing through my headphones, but I'm not sure how I feel about it. Especially the length. It kind of feels like one of those Family Guy jokes that gets drawn out absurdly long. And I think Family Guy is one of the worst things to happen to the world, so that doesn't bode well for the pause.
"Illest Motherfucker Alive"
I guess we all knew subtly wasn't a strong suit of either of these guys, so nobody should be surprised by the title of this song. But, if that's the name of the song, you better come with bars. The whole "Russel ain't the only Russel/ Russel Brand/ Russel Crowe" thing pisses me off, like a lot. Like I wanna gouge my eyes out when I hear it. But Yeezy quickly makes up for his misgivings by saying "Bullet proof condom when I'm in these hoes/ Got staples in my dick/ Why? Fucking centerfolds". I love word play, and this is fantastic. I think that could be my favorite shit that 'Ye spits the whole album.
Jay-Z offers up some obligatory MJ references...you starting to see what I was talking about earlier?
Once the opera comes in, I can't contain myself anymore. If you'll excuse me I'm going to go bounce around for a second, shake my head and scowl like a muhfucka...
Okay back.
"H.A.M."
This song is like six months old, and was picked apart by the internets when it came out. I still like it, it still makes me wanna go HAM. Mission accomplished, guys. I wont bore you with more analysis. By the way, thanks for sticking with me if you have made it this far. If you didn't? Fuck y'all, I don't need you anyway...no I'm kidding, come back. Please? Hello?
"Prime time"
I like Deion Sanders, and thus I like this song, titled in his likeness. This song asks one of the age old questions: "The night is young, what the fuck you wanna do? Huh?". Yeezy murders this shit, like one hundred percent. Especially this part:
"The Joy"
This might have been my favorite track of the G.O.O.D. Friday series. so I'm glad it made it on the album, albeit as a bonus track. Now the whole theme of Watch The Throne was to push the boundaries, or whatever the fuck they said this shit's about. I mean it's progressive, at least from a beat making perspective I suppose.
And this joint is decidedly different than everything else on the album, and I think makes sense that they put it as the last track. It's a reminder that even though they are attempting to push the limits of hip-hop, that when they do the shit that got them here in the first place, rhyming gracefully over a dusty soul sample, they really are the best in the business.
 |
| It's so much fun being so rich! |
"No Church in the Wild" - Featuring Frank Ocean
Good sounding beat to start out the album, then Frank Ocean comes in and shit starts sounding a bit on the melodramatic side and it fairs on the side of preachy, but the beat is just heaters, so the chorus is a small concession to make for it. Yo no homo, but I fucking love Yeezy verse on this track. I'm not exactly sure when the transformation occurred in his career, but at some point he just became obsessed with misogyny and drugs and the party, and just the tone of his voice is a vast departure from 808s and anything before that. I mean, a line from this song already appears in your daily twitter feed with people expressing their thoughts on last night and feelings today: "Sunglasses and Advil, last night was mad real".
So far the album is off to a good start, and the jungle sounds at the end of this track are kind of ill, as well.
So a lot of people are curious about the little musical interludes that often find themselves acting as transitions between the tracks. My take? I think that it's an MJ-HOF-esque "fuck you" to the critics, other rappers, bloggers, whoever, basically giving them time to marinate in what they are listening to. I think I like it. I also think that if I ever get really stoned and listen to this album I might space out and think I'm listening to a DOOM album or something. Though I suppose if I'm really stoned I would immediately forget this whenever the next track would come on. I digress.
"Lift Off" Featuring Beyonce
Look, I think Beyonce is very talented and frustratingly attractive, but this song kind of bores me. Shit sounds like something that could have been left off Graduation. Though I gotta say, the beat from the 1:40-1:50 marks is pretty hot, no denying that. Both dudes sound hella choppy over this beat, let's go to the next track, I'm fucking bored.
"N****s in Paris" (when you're a white
Yo, I swear, as soon as the screwed up "Ball so hard motherfuckers wanna fine me" comes through my headphones and the beat drops, I compulsively start shaking my head. This track is great. As my boy Stephan Varady pointed out: this is one of the greatest song titles of all time.
Kanye is also decidedly thoughtful on this track, offering up his relationship advice to Prince William, as well as asking the important questions like: "What's Gucci, my n***a? What's Louis, my killa? What's drugs, my dealer? What's that jacket, Margiela? " You know, the ones that most people are afraid to ask.
And then the beat flips and Yeezy's got his crackers in Seattle, and we goin' gorillas.
The Roc Boys are definitely in their zone on this one.
"Gotta Have It"
First of all, I'm not sure what the deal is, but I swear I can hear 'Ye hitting the MPC pad every time the James Brown sample comes in on the chorus. I don't like that. Like, at all. And I'm not sure that I like the "ooooo" or whatever the fuck that is in the background. But the overall use of the sample is pretty fire.
I also am really feeling the back and forth on this one. I always enjoy this technique when properly employed. Well done, sirs. And then the second verse Jay is getting his BK goon on and issuing threats.
While I enjoy racks on racks on racks, Maybachs on bachs on bachs on bachs on bachs, I fucking hate planking...even if it's on a million dollars.
But they're right, as of now, this album's got what we need.
"New Day"
Not exactly your typical RZA production, but I'm into it, solid beat/sample, and I'm feeling the whole "Me and the RZA connect" thing. Kanye's first verse pisses me off, it's so fucking see through. You can tell that from the beginning of the song that he's ultimately going to say something about how hard his life is. It's like yo, you are rich as fuck, you are the best producer in the game, you are making an album with Jay-Z, like an entire fucking album with Jay-Z, we DO NOT feel bad for you.
It also just kind of creeps me out that they are, in essence, talking to their sperm, because neither of them has children. Also, Jay is getting pretty old, like he'll be damn near 60 by the time his kid graduates if he gets Beyonce pregnant TODAY. So now this song just freaks me out.
"That's My Bitch"
I know this came out a while before the album, and to be honest, I didn't really like it that much then. But now? I actually like this shit. Chorus is mad catchy, what's good La Roux? Both dudes do their thing on this one, I don't really have much of an analysis beyond that. Thank god right? I be long winded and shit.
"Welcome to the Jungle"
Honestly, like what the fuck kind of bet did Kanye lose that he has to let Swizzy dance around with his Louis rag, and ruin the chorus on at least one song per album. Jay's second go around is a nice homage to fallen soldiers as well as a quasi-interesting introspection to his thoughts/life. But then you hear Swizzy again and you actually agree when he goes "GOD DAMNIT!". At least that's my initial reaction any time I hear Swizz Beatz voice. It's like you get to have sex with Alicia Keys, isn't that good enough for you?
"Who Gon Stop Me"
Aside from how uncomfortable it makes me to hear a practicing Catholic compare his music to the Holocaust (though Yeezy recently said people look at him like he's Hitler...what?), this shit goes so hard. I think it's my favorite song on the album. Especially because it's fighting against dubstep remixing, by taking a sample from a dubstep track and using it in a hip hop song. I HATE DUBSTEP, so this is a definite win for your boy. If I am drinking, I absolutely need this song to be playing at wherever I'm at. Though if it's your house, I would advise against it, because I might start smashing shit. And if I do? Who gon' stop me, huh?
And then the beat flips, and I lose my mind, and I think Hov might have lost his, too. I like, really, really like this track. And then it flips again and the synths start climibing...okay, I'm going to get some water.
"Murder to Excellence"
This shit is mad real, no Advil. This is one of the more interesting songs I've heard, especially as of late. Pretty insightful as well as inspiring, which is a nice break from the belligerent opulence of the first half of the album, not that I don't enjoy that shit. Always nice to hear some social commentary from people that have such a large platform and with a wide ranging reach. Kanye consistently flipping his beats halfway through the tracks is fucking great, too. It's something that I don't think I'll ever tire from.
"Made in America" Featuring Frank Ocean
First of all, shouts to Frank Ocean for getting on this album twice, that's a feat in of itself. I can appreciate the message of this song, kind of building off the inspirational aspect of the tail end of the last track, but I think the song is kind of corny. I mean, I'm not going to skip over it, because sometimes you need some cheese in the mix, but this shit is also kinda preachy, and I don't really get down to that. And Jay's continual "uh" after each bar drives me up the fucking wall.
Okay, I lied, I'm skipping to the next song.
"Why I Love You"
Despite the fact that name of the track is reminiscent of Mario (yes, that Mario), this song is pretty fly. The chorus goes hard, and I love the beat. I get kind of bored of Jigga on this track, to be honest, and just wait for Kanye to get on. I feel like this happens occasionally on the album, where I get bored with one of the dudes and the other one has to pick up the slack. I guess they are really sticking to their LeBron James/D-Wade analogy from "Gotta Have It".
And then there is just this long ass pause. Like they are letting the competition catch their breath. I guess it's nice because now I can write without music pulsing through my headphones, but I'm not sure how I feel about it. Especially the length. It kind of feels like one of those Family Guy jokes that gets drawn out absurdly long. And I think Family Guy is one of the worst things to happen to the world, so that doesn't bode well for the pause.
"Illest Motherfucker Alive"
I guess we all knew subtly wasn't a strong suit of either of these guys, so nobody should be surprised by the title of this song. But, if that's the name of the song, you better come with bars. The whole "Russel ain't the only Russel/ Russel Brand/ Russel Crowe" thing pisses me off, like a lot. Like I wanna gouge my eyes out when I hear it. But Yeezy quickly makes up for his misgivings by saying "Bullet proof condom when I'm in these hoes/ Got staples in my dick/ Why? Fucking centerfolds". I love word play, and this is fantastic. I think that could be my favorite shit that 'Ye spits the whole album.
Jay-Z offers up some obligatory MJ references...you starting to see what I was talking about earlier?
Once the opera comes in, I can't contain myself anymore. If you'll excuse me I'm going to go bounce around for a second, shake my head and scowl like a muhfucka...
Okay back.
"H.A.M."
This song is like six months old, and was picked apart by the internets when it came out. I still like it, it still makes me wanna go HAM. Mission accomplished, guys. I wont bore you with more analysis. By the way, thanks for sticking with me if you have made it this far. If you didn't? Fuck y'all, I don't need you anyway...no I'm kidding, come back. Please? Hello?
"Prime time"
I like Deion Sanders, and thus I like this song, titled in his likeness. This song asks one of the age old questions: "The night is young, what the fuck you wanna do? Huh?". Yeezy murders this shit, like one hundred percent. Especially this part:
I told her, run a bubble bathAnd here I thought this was normal conversation. I guess I need to take a long hard look in the mirror and reevaluate my conversational habits. Oh, well.
And float in that motherfuckerer like a hovercraft
And soak in that motherfuckerer til I call you back
I mean who says shit like that, and doesn’t laugh
"The Joy"
This might have been my favorite track of the G.O.O.D. Friday series. so I'm glad it made it on the album, albeit as a bonus track. Now the whole theme of Watch The Throne was to push the boundaries, or whatever the fuck they said this shit's about. I mean it's progressive, at least from a beat making perspective I suppose.
And this joint is decidedly different than everything else on the album, and I think makes sense that they put it as the last track. It's a reminder that even though they are attempting to push the limits of hip-hop, that when they do the shit that got them here in the first place, rhyming gracefully over a dusty soul sample, they really are the best in the business.
Labels: Jay-Z, Kanye, LaGreezy, Watch The Throne
posted by LaGreezy at
1:17 PM
1 Comments:
Love your writing Bric Squad. Agreed with a lot of it. Always play N****s in Paris at the gym and when I'm driving. That's a peanut butter and jam. Plus the end of that cut is incredible. "Don't let me get in my zone." That line resonates with me. He just lets that marinate. Like you mentioned, Ye is on some Michael Jordan ish and rightfully so. Baffles my mind how he could pump this out after My Beautiful Dark Twisted Fantasy. Especially the music. It is a much more mature sound that I've never heard before. From anybody. Maybe it has something to do with the beat flips towards the end of these songs or how the beat just flips multiple times on sometracks. Not sure.
Didn't see a review for Otis..but maybe you already did that in a previous post. That video is bananas. They are like two 20-year olds. Fun to watch.
I like Who Gon Stop me, but is that Swizz Beats saying "HANDS IN THA AIRRR" ?? Whoever says it, it really bothers me. "Heard Yeezy was rascist, well I guess that's on one basis: I only like green faces" Really dig that line.
Considering Yeezy finally uses his talent to say something meaningful, Murder to Excellence might be my favorite track on the entire album. What he talks about is real, and hopefully the message in that song might wake people up. Also really loved Why I Love You.
Keep up the good work, Bric.
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