Sevyn streeter shoulda been there, part 1 album cover

Mozzy, who was releasing tapes as early as 2010 under the name Lil Tim, is a rapper with a particularly dark and violent perspective. In Northern California, and to the many cities under its influence, one gangster rapper has seen his street fame snowball in the past year. But really 'Finessin' most owes a debt to Fergie's 'Glamorous,' so much so that one practically expects him to rap about eating drive thru Taco Bell, raw as hell. Its chorus may remind some of Speaker Knockerz 'Flexin and Finessin,' a more original record. But 'Finessin' is a more traditionally well-written pop record, so good that the remix verses by Kevin Gates and Lil Bibby feel like a diminishment. The song's soft-focus melodicism might remind folks of Post Malone, the Caucasian warbler behind 'White Iverson'-one of the biggest songs in Atlanta right now, the way Shazam tells it. His general hesher vibes suggest he should be selling dime bags of weed rather than 'moving weight' as he raps in the song, so depending on your tolerance for drug dealer flights of fancy that might be a stumbling block for some. His latest single, 'Finessin,' is far better than his earlier work, like this strange record where he was bicycling in a floppy silk shirt. He recently signed to Young Money, at least according to this Instagram taken alongside Drake.

He's also a songwriter, one who's been ghostwriting for artists and working behind the scenes in the industry for several years. On the opposite side of the spectrum from Lil Cray is singing white rapper Baby E. Despite this contradiction, it's a strong record, likely his best since 2012's 'As Long As You Love Me.' Co-written by his frequent collaborator Poo Bear, the record is about romantic confusion, a feeling at once authentic to Bieber-it's not hard to imagine him seeming befuddled in general-yet dissociated from his likely lived experience of romance. It's easy to see Bieber's 'What Do You Mean' as a laconic cut in this mold, an understated record that could help Bieber slyly sidestep the uphill comeback narrative he'd been forced into. For what? For a more casual style often called Tropical House, derived in part from Northern European producers like Kygo (whose remix of Marvin Gaye's 'Sexual Healing' is now getting play in the States) and Matoma, who's been releasing tropical versions of hip-hop classics to considerable success overseas. Probz hit 'Waves,' the most popular EDM has turned down. With OMI's 'Cheerleader,' Major Lazer and DJ Snake's 'Lean On,' and last year's Robin Schulz/Mr. is at the Laugh Factory.ДЄfter a soft-release R&B 'compilation' album-the main difference between it and a 'real album' is that it wasn't heavily promoted nor were its numbers released by Billboard-Bieber took a few PR hits (probably-I've mostly tuned them out, but I think there was something to do with South American hookers?) before roaring back on the surprisingly solid Skrillex/Diplo collab 'Where Are U Now.' The song was a major success, due in large part to its producer's prescience. It's also kind of funny that Dolph's only real stop in L.A. Although I couldn't ID the sample, it does feel like the spiritual son of Leon Ware's 'That Is Why I Came to California.' Hard to say what this song will mean for the future of Colonel Loud, but it's a definite winner for anybody's party playlist. Hanky-produced beat draws a connection between new Cali and the sparse sound of 1980s funk and R&B. Perhaps the concept was inspired by the song's thick groove, which seems closer to Mustard's ratchet sound than a traditional North Carolina hit much like the Migos' 'Fight Night,' an outsider's version of the West's production style finds new wrinkles in a familiar formula. Raleigh, N.C., rapper Colonel Loud (.that name!) has scored a major record with 'California,' a song that channels old school R&B and up-and-coming Southern nightclub circuit rapper Young Dolph for a feel-good summer jam salute to the left coast. Colonel Loud f/ Young Dolph and Ricco Barrino 'California'

Sevyn streeter shoulda been there, part 1 album cover