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TDE Announces “The Championship Tour”

January 22, 2018 by I.S. Jones Leave a Comment

While I’m still hashing out my personal feelings about Drake, today I woke up to the exciting news that Top Dawg Entertainment has announced tour dates for a mega family outing of the label’s most supreme stars. With CTRL’s one year anniversary on the horizon this summer, it feels good to see her finally swinging with the majors. The Championship Tour features: SiR, SZA, Jay Rock, Ab-Soul, ScHoolBoy Q, and the king Kendrick Lamar

The choice of artists in the marquee is a bit questionable, however. For starters, TDE made the choice to feature Lance Skiiiwalker, one of the more quieter members of the TDE family. As he hasn’t released a project since 2016, I am curious as to what he brings to the table. The Chicago native was officially signed to TDE back in 2016, and even before joining, Skiiwalker appeared in the credits of Rapsody’s “Power“, Kendrick’s “untitled 04 | 08.14.2014“, and ScHoolBoy’s “Know Ya Thing“. Yet, TDE and Lance Skiiiwalker may surprise us with something at the last minute.

Then something I think many of us are wondering: Why isn’t Isaiah Rashad in this line?

Tickets go on sale Friday, January 26

 

***

I.S. Jones is a writer living in New York by way of California. Please send her pizza not nudes. You may also send her ONE of your best tracks (on Twitter only) and she’ll get back to you at her earliest convenience. I.S. is rooting for you. She is trying, just like the rest of us. Tweet at her here

Filed Under: Articles, News Tagged With: ab-soul, Championship Tour, January 26, jay rock, kendrick lamar, Lance Skiiiwalker, schoolboy q, sza, tde

A World Represented: Kendrick Lamar’s ELEMENT & Black Masculinity

July 7, 2017 by Clarissa Brooks Leave a Comment

In Kendrick Lamar’s “element.” music video, which recreates the work of photojournalist Gordon Parks, blackness is re-imagined as a means of strength.
In Kendrick Lamar’s “element.” music video, which recreates the work of photojournalist Gordon Parks, blackness is re-imagined as a means of strength.

 

Lamar’s most recent visual treatment directed by Jonas Lindstroem and the Lil Homies, who are Kendrick and Dave Free respectively, brought us to discuss real questions around poverty, violence and the black image. In Lamar’s most recent visual for his track ELEMENT off his latest album DAMN, he brings you into his world, the world full of physicality, resurrection, and violence that brings Kendrick out of himself.Kendrick Lamar’s album DAMN is a look at what happens when the self is torn in different directions as you realize God may not be as merciful as you thought. ELEMENT as a video is a direct homage to a few photojournalists but mainly Gordon Parks, the first black photographer to have his work featured in Vogue and LIFE. He spent much of his career documenting the realities of black life and social justice movements of the 60’s. He later became the godfather of Malcolm X’s daughter because of his long and trusted friendship with X.

The song itself brings us to a Kendrick Lamar that is over it. In this rendition of ELEMENT, Kendrick is coming out of himself. D.O.T is the paranoid, egotistic and at times violent Kendrick that we all have to access at times. We all have to come outside of ourselves at times to remind folks of our worth and triumph. D.O.T is doing just that, he’s putting the religious analysis to the side and wants to remind his fans that he is STILL the greatest. D.O.T is also a very paranoid side of Kendrick, a young man always discussing having to defend his fame and skill. A paranoia that we see throughout the album but this song specifically we see that paranoia met with a violent tone. D.O.T is ready to call out any fake rapper that may pass by him.  In ELEMENT we see Kendrick Lamar have an interpersonal dialogue with himself as he weaves a violent disposition into a gorgeous sequence of images. He turns violence into a dance of beauty and physicality that you can almost feel.

Put the Bible down and go eye for an eye for this shit

D.O.T. my enemy, won’t catch a vibe for this shit, ayy

I been stomped out in front of my momma

My daddy commissary made it to commas

Bitch, all my grandmas dead

So ain’t nobody prayin’ for me, I’m on your head, ayy

My biggest question watching the music video was why would Kendrick choose artists such as Parks, Elliott Erwitt, and Bill Viola to depict these black images? What does it mean to depict your reality through specific images? What is he trying to say? I realized by the end of the video the importance of altering narratives, of turning what has been deemed violent into a space of beauty. To speak on the cycles of taught violence that most black men need in order to survive. To turn the ugly parts of blackness that we try to hide as spaces of strength. To recreate images that now speak to a current day struggle. To give respect to Parks and how important the documentation of black life is to be able to discuss nuance. We never see black boys in images that aren’t derogatory but in ELEMENT we see how black boys are taught to fight for survival and how they have to let go of their innocence in order to live in a world that doesn’t want them to survive. I felt as if Kendrick’s use of silhouettes were focused on displaying a life that is riddled with a masculinity that has no space for vulnerability. Throughout Kendrick’s career, we have seen him go back and forth with his own ideas around masculinity and faith, we see how those two ideas can get complicated quickly. In ELEMENT we are seeing the return of D.O.T the unhinged side of Kendrick that is full of rage, anxiety, and paranoia around losing a notoriety that he was rightfully earned. More importantly in the recreated fight scenes, we see Kendrick give a physicality and beauty to violence, specifically black violence that is normally ignored.In recreating these Parks images we see a current adoption of reality that shows us that masculinity even the toxic kind isn’t as cut and dry as normally portrayed. The last few scenes reminded of when I was a kid and my cousins and I would get together and go beat up the kids we didn’t like from down the street. It reminded me of how you can find pride in the things that have been used to castigate you. We would walk with our chests high ready to protect what little area of the playground we could. We were indoctrinated into a world that wasn’t easy and we had to learn quickly how to defend ourselves. Kendrick and his crew felt familiar, like my older male cousins, whose lives are riddled with self-doubt with having to always protect a masculinity that constantly feels under attack.

Kendrick Lamar is always coming home. In every album, song or feature Kendrick finds a way to bring his hometown into his person or his lyrics. Whether it be his voice, visuals or movement Kendrick is always looking to remind us where he grew up. Compton is a constant inspiration and guilt for Kendrick, he’s discussed his struggle to now stay stuck in his own guilt of leaving the place that raised him. I think with creating a visual of contrasts and recreation I think Kendrick wanted to create more than a music video, the TDE team is amazing at creating visuals but this time around Kendrick created a work that was a personal look at the humble beginnings he never wants to forget.

Filed Under: Articles, Blog Tagged With: Black Masculinity, Element, kendrick lamar, music video, tde

Top 10 Lyrics From Ab-Soul’s “Control System” (5-Year Anniversary)

May 22, 2017 by Ashley Clayton Leave a Comment

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I remember when I first discovered Ab-Soul my sophomore year of college. I sent my brother a random picture of myself and he claimed I looked like this rapper who he knew I never heard of. Since my brother has a pretty great musical opinion I decided to check out Ab-soul (mainly to lie and say I knew who he was the whole time) and instantly fell in love with his music. His raps were intelligent, riddled in double entendres and required you to do a bit of research just to understand what he was saying half the time. This was my kind of hip hop and honestly still is.

That brings us to 2017 5 years after I discovered Ab-Soul and 5 years after his finest work and arguably one of TDE’s best projects, “Control System” was released. Soulo’s sophomore effort is timeless and just as relevant as it was when it was released. Tracks like Double Standards and Terrorist Threats.

What I like best about this album isn’t just how deep it is but the fact that I can still bang it in the whip (do people still say that?) 5 years later. This is undeniable Ab-Soul’s greatest body of work with DWTW close behind. That album even references Control System. He’s grown as an artist but still pays his respect to the album that made most people stop and really start paying attention to this lyrical genius.

It’s crazy to think that despite multiple features and other projects under his belt after this, Control System is the album most people will tell you to listen to when you’re about to check out Ab-Soul. This isn’t a review though this is me paying my respects to my favorite member of TDE. So what better way to do that than list my top 10 favorite verses from Control System.

1. “I run the town like Roc Nation, no exaggeration
Bet I rise like Lazarus, use your imagination” Track 2, Track Two

2. “Your picture still on my mind and it’s so scary. I swear I still ain’t looked at your obituary” Track 16, The Book of Soul

3. “I coexist in places you would never know existed” Track 3, Bohemian Grove

4. “We in a space where matter don’t matter
Just spirit molecules and geometric patterns” Track 5, Pineal Gland

5. “My auntie told me always treat my lady right
My uncle told me only love ’em for a night
You can see the immediate disconnection
Between a man and a woman, the reason for regression” – Track 6, Double Standards

6. “Lean in my cup, pinky up like Dr. Evil (zip it)” Track 8, SOPA

7. “I used to wanna rap like Jay Z
Now I feel I could run laps ’round Jay Z
Nas ain’t seen nothin’ this nasty
BIG and Pac got it comin’ when I pass, too
You got the mic? I ain’t the one you wanna pass to” Track 10, ILLuminate

8. “You got a past, but that’s in the past
And we all know that you can’t press rewind” Track 13, Empathy

9. “Everything I love the most gets taken away
My momma and music is next
And if that happens before I turn 28
Then I’m going out wit’ Kurt Cobain” Track 16, The Book of Soul

10. “Stick to the plan, I’ll meet you at our spot
If reincarnation is true and we don’t get too lost
Even if you forget me and everything you left behind
I never lied, I love you in a place where there’s no space and time” Track 16, The Book of Soul

I could pick through each track and pull out at least 3 lines that I absolutely love and think that every lover of hip hop should pay close attention to but that would make this entirely too long. Instead, I gave you just a few of my favorites and three from his emotionally vulnerable single The Book of Soul. Only time will tell if Ab-Soul will continue to deliver us projects that are just as significant in his discography as this one that sets him apart from his peers. However, if Control System taught me anything it’s that he’s got the confidence to make sure he is remembered as one of the best.

Filed Under: Blog, Features Tagged With: ab-soul, tde

Concert Review: The Weeknd, ScHoolboy Q & Jhene Aiko – 9/21/14

November 6, 2014 by Deena Leave a Comment

weekndcoverWith only four stops to complete the brief King of The Fall tour, the anticipation from fans to see The Weeknd take the stage had exceeded new marks since the tour was first announced. As a long time fan who had never seen the artist perform live, I finally had the pleasure of hearing the hypnotic vocals from the Canada-born singer in Toronto. To accompany The Weeknd on the tour, Jhene Aiko opened the show with TDE rapper, ScHoolboy Q, following after. The combination of vibes from each artist and the energy of the crowd at the Molson Ampitheatre made for an unforgettable experience.

As I heard the distinctive vocals of singer, Jhene Aiko, emerge into the bathroom, I couldn’t help but grow excited behind a bathroom stall. With my friend and I choosing to urinate at the incorrect time, I had the pleasure of hearing the opening song of the show while on a toilet. The singer chose to perform the single “Love and Let Die” from her recently released album Souled Out. The rest of her performance was a mixture of hits from Sail Out and Sailed Out. A favorite moment for the entire crowd and myself was the singer performing a solo version of the well-admired song, “From Time.” Other favorites included “Stay Ready (What A Lie)” where the crowd got to hear the singer channel her inner rapper and perform Kendrick’s verses as well. Comparing to past performances (although I haven’t witnessed it live) Jhene Aiko has improved greatly. It was clear she made it a point to bring more energy to the stage due to past comments claiming that the singer veers toward boring performances. She even hopped in circles at one point making fans question if she did cocaine in the back with The Weeknd and the XO crew. All jokes aside, her naturalness on the stage was enjoyable. Vocally, though, the singer lacked for me. Her pitch was noticeably lower which was slightly disappointing. While I’m no Dr. Oz, I will say that her speaking voice was also comparably lower which leads me to believe she may have just been sick or nervous. Overall, the performance was a nice opener to warm up the crowd for the following performances.

With a huge switch in energy and pace, ScHoolboy Q then took the stage after Jhene Aiko. His performance was a major transition from the soothing vibes of Jhene Aiko, but in a very enjoyable manner. The decision to include the singer and rapper was a smart one as it would mirror both the energies The Weeknd would end up bringing himself. Additionally, I made a huge transition myself during the performance. As I tried to sneak to a lower level, I kept trying to body-check a fan who wouldn’t move out of the way. Eventually I realized this was not a fan, but, instead an employee checking for tickets of guests who wanted to take their seat. As you can imagine, it was very unfortunate for me to try and turn into The Undertaker on a staff member. Fortunately, I wasn’t kicked out. As a second attempt, I eventually slid through as the woman checked someone else’s tickets. This allowed me to see ScHoolboy Q’s and The Weeknd’s performances at a nicer range. Anyway, his setlist not only included the obvious selections from Oxymoron, but also even went back to Setbacks for the die-hard fans. As a major fan of ScHoolboy Q myself, I still have to say my favorite moments included the popular hits being played. The energy from the crowd and rapper during bangers like “Man of The Year” and “Collard Greens” will be very memorable. What makes ScHoolboy Q such an admirable artist is he puts his heart on the stage and gives his all during each song. No matter what the content of the song is, the TDE rapper puts forth the energy to perform each song in the most pleasing manner for the crowd.

weeknd

The stage was rid of lighting, and the vocals of the alternative R&B singer began to project from the speakers in complete darkness. The performance was opened with the song “Enemy.” Before entering the stage, The Weeknd continued on singing to further the anxiousness among the crowd. The set was beautifully crafted with projected images and clips being continually displayed as the background for the stage. When the images were off, the live band was revealed. They sat elevated at a significantly higher height. I have to remark that the band needs to be accredited for contributing to such a great show because the guitarist and drummer electrified every song. Hearing live instrumentals compares to nothing; especially with songs from The Weeknd, whose music is heavy on unique drum patterns and guitar riffs.  The performance transitioned into “What You Need” which was a major crowd pleaser. The high notes of the hook were hit remarkably. Bouncing from projects, the popular tune “Professional” from Kissland followed. Throughout the show, The Weeknd transitioned continually through every project but primarily stayed within the realms of The Trilogy. This is obvious, as the three mixtapes contain more songs than the last released album. One of the most memorable moments includes the singer performing “Crew Love.” This radio hit, which is rightfully one, turned the crowd up dramatically. The Weeknd also even danced somewhat crazily as he performed this hit, which was refreshing coming from an otherwise seemingly relaxed performer.

Two major songs that stood out were “Wanderlust” and “The Birds (Part 1)” due to the fact that the live band was able to shine through more dramatically with the instrumentals being so focused. “The Knowing”, which I had been ridiculously anxious to hear performed, was finally performed about midway through the show. This was a monumental performance for me, as it is the one of the song Abel blatantly states his emotions in the lyricism. The emotion that was evoked through his voice was everything it could’ve been.  It felt as if the singer was releasing his vulnerability and letting the pain take the stage. My other favorites included “Twenty Eight” and “Loft Music.” The song that the crowd assumed would close the show was “Wicked Games.” Before performing this, Abel asked that everyone stick their lighters in the air. Since not everyone was a stoner, other fans lifted their phones in the air as the singer had also asked for. Thousands of lighters and phones took the air and lit up the dark venue as The Weeknd performed the haunting vocals of the classic tune. During those minutes the venue felt significantly more intimate and the vibes were incomparable. With the song ending and darkness taking the stage, the crowd began to chant “Often” in unison. Alas, The Weeknd came out to perform an encore song. He selected “Or Nah (Remix)” which obviously teased the crowd. Ridding anybody of disappointment, he still performed “Often” right after which arguably pleased the crowd the most.

Overall, I was very pleased with the show put on. The set, stage production and live band all in conjunction with The Weeknd’s performance was amazing. I do wish that “Valerie” and “Echoes of Silence” were performed as both songs showcase Abel’s raw vocals and controlled melodies more clearly. Aside from that minor discrepancy, this show was one I was very content with. What made The Weeknd’s performance such a great experience was his energy and passion for each song. He made it a point to interject between songs to acknowledge the fans, especially those seated further back. The singing mirrored his voice on studio versions of the projects which is, unfortunately, not always promised by artists. His comfort with performing and overall stage presence showcased genuineness confidence. It is always satisfying to know that such a major artist can remain humble even at the point of his career. The crowd had the pleasure of hearing more than just words and sounds. They got to hear and see emotion and art on the stage.

Filed Under: Blog, Reviews Tagged With: concert review, jhene aiko, schoolboy q, tde, weeknd

Revisiting Section.80

August 9, 2014 by Dead End Hip Hop Leave a Comment

Section80Front

Kendrick Lamar is one of the most recognizable names in the hip hop game. His latest album, Good Kid m.a.a.d City, has reached the masses and is already considered a certified classic by many.

Similarly to most other rappers who have made it big; Lamar has been grinding for years prior to his breakout project. Most notably, his premiere studio album, Section.80, was released on July 2, 2011.

The album was a masterpiece from start to finish as it was filled to the brim with lush production, created by the talented team from TDE. Most importantly, Kendrick Lamar was in top form as he expertly rapped throughout each track, all the while tackling heavy societal issues and maintaining an underlying concept throughout the project.

Section.80 is Kendrick Lamar’s interpretation of his generation; those who were born in the 80s. The narrative throughout the album is impactful and acts as a spark for further reflection.

In my opinion, Section.80 is Kendrick Lamar’s best work to date and to further explain why, here’s a breakdown of each track: [Read more…]

Filed Under: Articles Tagged With: good kid maad city, kendrick lamar, section.80, tde

TDE’s Mid-Year Check-In

July 24, 2014 by Shah Faridi Leave a Comment

tde

At the end of last year the hip-hop community got some pretty exciting news from TDE CEO Top Dawg, tweeting that the buzzworthy label would drop six projects in 2014. Well, half the year has passed and we have received four out of the six projects so I wanted to do a mid-year check-in on how I feel about the projects so far and make some predictions on what to expect for the rest of the year.

The year started out great with the release of the Cilvia Demo by newcomer to the roster, Isaiah Rashad. This project was one I was really looking forward to so I had high expectations and they were all met. I enjoyed Cilvia Demo and had it on repeat for a long time with some stand out tracks being “Modest” and “Shot You Down”. I have really high hopes for Rashad and I’m excited to hear a full length album from him in the future. It was a great start to the year for TDE and I was anxious to hear how Schoolboy Q would follow-up with the highly-anticipated Oxymoron.

Almost a month later, at the end of February, Q dropped an album that shot straight to the top of the charts but whenever people ask me what I thought about this album, the only answer that comes to mind is just “pretty good”. It wasn’t a great album but it wasn’t a bad one either; I didn’t keep it on rotation as much as I did compared to the Cilvia Demo, but it definitely got some play in my iTunes. It was well-produced and put together decently with that new budget really making an impact on the quality. Compared to his previous work, you could really see the growth but to me, it just wasn’t enough. Habits and Contradictions was a damn good album that had Schoolboy Q completely tearing apart every beat making each track more infectious than the previous but on Oxymoron I just heard a bunch of pretty good songs, and some not so good, thrown onto a project that really lived off of its singles.

A couple months later SZA dropped Z, the second part of her series of projects in which she spells out her name (next-level stuff). This project didn’t really capture my attention very much, I think I listened to it two or three times but it didn’t really grab me. None of the tracks were very bad; they were just uninspired and downright boring. SZA has an alright voice and I trust that Top saw some potential in her that could be reached with the right guidance because she seems like she might be onto something but, like Lana Del Rey, I think she needs to be pushed into the right direction to help find her voice.

Alright, I am a huge Ab-Soul fan, from a creative standpoint he is a big inspiration for me, and I still bump Control System today even though it dropped in 2012 because it’s so solid from start to finish and no one has been able to copy it. It’s no exaggeration when I say I’m a big Soul fan so I was really excited for These Days… but that excitement quickly diminished as I finally sat down to listen to this album. The album is not bad, it’s really just average and I expected a lot more out of the MC. People defend These Days… by saying “oh did you think he was going to drop Control System 2”, well obviously not, because he is not even in the same place he was when that album was being recorded but Ab-Soul has the capability to drop a masterpiece because he is on a completely different level compared to a lot of rappers out right now. I was expecting to have my mind blown once again but I just got a loosely put together project of what sounded like a bunch of b-sides and Ab-Soul doing his best Ab-Soul impression. On a positive note, a wave of nostalgia hit my ears with “Kendrick Lamar’s Interlude” that acted as a spiritual successor to “Ab-Soul’s Outro” on Secton.80 in which Kendrick channeled his flow from Overly Dedicated and Section.80. There are a couple other songs on this project that I enjoyed but as a whole, to me, it was mediocre.

So we have two more projects left from TDE coming out: Kendrick’s follow-up to the classic good kid, m.A.A.d city and Jay Rock’s first release in three years. I am really hoping they are saving the best for last because based on the releases from the first half of the year I don’t know what to expect from TDE anymore. I doubt Kendrick has the ability to put out a bad project because his track record has been great so far but I’ve learned not to get my hopes up and maybe I’ll be pleasantly (not-so) surprised. I think everyone and their mother is excited for the new Jay Rock album. He completely destroys every feature he has been on and has an unmatchable energy and delivery that will definitely make some waves when he makes his return.

So TDE, you got 6 months to drop the two albums everyone has been waiting for for a while now, don’t mess this up.

Filed Under: Articles Tagged With: ab-soul, cilvia demo, Isaiah Rashad, jay rock, kendrick lamar, schoolboy q, sza, tde, these days, Top Dawg

Ab-Soul feat. Schoolboy Q- Hunnid Stax

June 10, 2014 by Dead End Hip Hop Leave a Comment

Ab-Soul does us all the favor in releasing another single from his upcoming project “These Days” featuring his bestest friend Schoolboy Q. Very groovy. These Days is due out June 24th via Top Dawg Entertainment.

[soundcloud url=”https://api.soundcloud.com/tracks/153583159″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]

Filed Under: Blog Tagged With: ab-soul, hunnid stax, schoolboy q, tde, these days

Isaiah Rashad – RIP Kevin Miller

January 20, 2014 by Dead End Hip Hop Leave a Comment

The newest addition to TDE, Isaiah Rashad drops another gem from the upcoming Cilvia Demo slated for a January 28th release. Isaiah Rashad is starting to become one of my favorite rappers because he has consistently dropped great songs creating his own identity and separating himself from the ‘Black Hippy Movement’ attached to the TDE camp. If you’re not convinced that this dude can put a track together then go listen to ‘RIP Kevin Miller’ because it’s lyrical with a southern flavor like a blunted Big KRIT that will have you attached to the replay button.

Filed Under: Blog Tagged With: cilvia demo, Isaiah Rashad, rip kevin miller, tde

Who Cares? 2013 Year End Wrap Up List…

January 17, 2014 by Keith Descoteaux

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Sh’yaboy Keithnicity the Track-God here with a year-end wrap up list. It’s all just my own personal opinions. I figured mine would be less irritating than something Complex will cook up. Feel free to agree or tell me to get the fuck outta here. Either way, my thoughts on 2013. Chuuuuch:

Artist of 2013: Kendrick Lamar
Album of 2013: My Name is My Name ~ Pusha T
Most Talked About Album of 2013: Yeezus ~ Kanye West
Mixtape of 2013: Better Off Dead ~ Flatbush Zombies
Independent Album of 2013: Run the Jewels ~ El-P & Killer Mike
Producer of the Year: Eric Arc Elliot
Rookie of the Year: Isaiah Rashad
Best Song of 2013: “Rap God” ~ Eminem
Best Verse of 2013: Kendrick Lamar (from the song “Control” by Big Sean)
Album I Expected To Like a LOT MORE: Because the Internet ~ Childish Gambino
Best Hyper Ignorant Album of 2013: Stay Trippy ~ Juicy J
Best Album of Soft Lullabies & Elevator Music To Put A Baby To Sleep To: Nothing Was the Same ~ Drake
Artist With MOST Cartoony & Ridiculous Voice: Chance The Rapper
Most Slept On Album of 2013: 7 Days of Funk ~ Snoop Dogg & Dam Funk
Most Nonsensical “Tribute To a Legendary Rap Group” That Made No Sense: “Wu-Tang Forever” ~ Drake
Best Non-rap Album of 2013: Matangi ~ M.I.A.
Most Anticipated Project for 2014: Oxymoron ~ Schoolboy Q
Worst White Kid Whose Parents Should Have Canceled Their Subscription to BET: Miley Cyrus/Justin Bieber (tie)
Worst Hair Cut of ALL TIME: Miley Cyrus/Macklemore
Most Untalented Rapper To Pull A “Kanye”: Wale
Silliest Twitter User of 2013: Gucci Mane
Worst Genre of Music EVER: Country (This doesn’t really have anything to do with anything…just sayin’…)
Most Boring Album of 2013: The 20/20 Experience ~ Justin Timberlake
Silliest Trend in Street Fashion: Mask Wearing
Only Artist Name Dropped On “Control” to End Up Looking Silly: Drake
Most Thankfully Absent Rap Star of 2013: Lil Wayne
Most Likely to Ruin a Track with Nonsensical Crooning and General Auto-tune Fuckery: Future

 

The opinions and views expressed here are the opinions of the designated author(s) and do not reflect the opinions or views of any of the individual members of Dead End Hip Hop.

Filed Under: Articles Tagged With: chance the rapper, Childish Gambino, control verse, drake, el-p, eminem, eric arc elliott, flatbush zombies, future, good music, gucci mane, Isaiah Rashad, justin timberlake, kendrick lamar, killer mike, lil' wayne, macklemore, MIA, miley cyrus, pusha t, rap god, run the jewels, schoolboy q, snoop dogg, tde, year end lists, year-end list

TDE to Release 6 Albums in 2014

December 25, 2013 by Dead End Hip Hop Leave a Comment

TDEAnthony “Top Dawg” Tiffith, the CEO of TDE, confirms that TDE will be releasing 6 albums in 2014. We already know that Schoolboy Q’s Oxymoron is going to be released on February 25th but now we can expect full length LPs from Kendrick Lamar, Ab-Soul, Jay Rock, Isaiah Rashad and SZA as well. Check out the tweet above.

Filed Under: Blog Tagged With: ab-soul, Anthony "Top Dawg" Tiffith, Isaiah Rasha, jay rock, kendrick lamar, schoolboy q, sza, tde

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