I'm sorry but the image of Rachel Berry accidentally giving the Reichutation salute while singing 'let me hit that weed' is the height of comedy for me.
BLACK GIRL DEBUT MAGIC™ - WINNER
- Thread starter Mr.Arroz
- Start date
I'm sorry but the image of Rachel Berry accidentally giving the Reichutation salute while singing 'let me hit that weed' is the height of comedy for me.
Those recent cuts are getting a bit rough so consequently I am starting to fear my 11 is also a goner soon. But it should be top 10 realistically, something I would have said about the recent losses too.
Mr.Arroz
Staff member
he/him/his
#29
Miss Camaraderie
8.564
Highest score: 10 x 13 (@1991, @AshleyKerwin, @Heaven on Earth, @kermit_the_frog, @inevitable, @Solenciennes, @soratami, @digitalkaiser, @Jwentz, @Sanctuary, @constantino, @Petty Mayonnaise)
Lowest scores: 5 x 1 (@ufint)
4 x 1 (@A&E)
1 x 1 (@Kuhleezi)
My score: 10
Track background:
Just as “Miss Amor” was sourced from Lone’s Echolocations EP, so holds the same for its companion track, this time from the track “Rapid Racer”:
(sounds like the horns are original in AZ's track!)
It was at point planned as the double A-side lead single from Broke with Expensive Taste, but this was changed as the LP faced significant delays. It became the album's final track when finally released in the fall of 2014, written by Azealia as well as Jack Fuller.
Azealia's own "16 Days of Azealia" commentary follows:
My thoughts: This is far superior to “Miss Amor”, even if my slight, on-paper, half-point edge to this track doesn’t necessarily reflect that in the clearest way. It's hazy, soothingly chaotic, with layered, looping vocals flirting next to horns for the the last quarter-plus of the song. Something about it feels so futuristic, and especially as it closes the album, it guides you into a trippy, spacey soundscape, inviting you to return and get sucked into the sonic atmosphere she's built across the album's entirety once again. I've always been far more attracted to this one versus "Miss Amor". It deserved more.
Your thoughts:
@TRAVVV (7) - A bop, but I’m wishing she would find a new cadence/flow for her singing moments.. she’s explored this same melodic idea in the album more successfully in Luxury and Soda.
@Bangers&Bops (9.5) - A fittingly uplifting end to a bravely unpredictable and—despite a couple missteps—supremely dope debut album. I want to dance to this at dawn on a rooftop while swimming in early morning sunlight.
@Kuhleezi (1) - I don't know if this picks up the flow of Luxury was intentional or not, but even if it was, I don't think it was the soundest of choices. So far into the album, it doesn't offer anything new and feels like it goes on forever.
@Mr.Arroz lol girl when people see this score...
@He (8.5) - I like this track a lot. For some reason it bothers me she recycles Luxury’s melody here. But the track is a great outro, and has more to offer in the way of lyrics and story.
@AshleyKerwin (10) - My favorite track on the album. She got her happy ending.
@ohnostalgia (8) - Honestly, good portions of the vocal track should be re-released as ASMR videos. This is how you artistically whisper, she who could not be heard.
Me going off but realizing you might be right:
@constantino (10) - I stan Lone’s solo work but this might well be a career highlight because the good Nottinghamshire sis fucking did the damn thing. I’d go as far as to say that this is one of the best closers in the last 10 years, talk about ending on a high and leaving me wanting more. Whew.
@Solenciennes (10) - Whew this album is a trip isn’t it? Miss Camaraderie serving Pussycat Dolls live at the Whatever Music Awards rave dance breakdown, great way to close out a brilliant debut.
GIRL,
WHAT???
@Trouble in Paradise (7) - A fun classic-Azealia sounding song that veers a little too frantic for me
Live performances:
:(
none, so enjoy the official instrumental :)
fuck y'all for this
a damn mess.
And with that, all these ladies have their album’s closing track. Almost fitting, especially as we draw even closer to the top 25. We back tomorrow everybodyyyyyyyyyyyyyy
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This is not good for my congestion and sore throat.
ohnostalgia
Staff member
She/her
A ONE?????
Mr.Arroz
Staff member
he/him/his
Me celebrating this elimination
The girls when they track my IPS
fuck y'all tbh
Yaaaaaas
If you want the real T, I'm enjoying the last few moments of life before @Sanctuary comes in here and puts me out of my misery.
Feel better, @ohnostalgia !
Yikes at these Azealia hits. I never knew Miss Camaraderie had a prominent sample.
Yikes at these Azealia hits. I never knew Miss Camaraderie had a prominent sample.
he/him
Dare I say it,
But perhaps some Tinashé?
I feel like especially SZA, Santigold, Azealia has suffered too much lately. And Kelela is just to strong, though I would love an even balance in the top 10 from our leftover girls.
But perhaps some Tinashé?
I feel like especially SZA, Santigold, Azealia has suffered too much lately. And Kelela is just to strong, though I would love an even balance in the top 10 from our leftover girls.
Mr.Arroz
Staff member
he/him/his
Let's get this going!
#28
Gimme a Chance
8.577
Highest score: 10 x 10 (@He, @BML, @1991, @JamesJupiter, @LE0Night, @Solenciennes, @soratami, @digitalkaiser, @theelusivechanteuse)
Lowest scores: 7 x 9 (@ThisIsRogue, @kermit_the_frog, @beyoncésweave, @lalaclairi_, @ufint, @Remorque, @CorgiCorgiCorgi, @Vitamin, @Sprockrooster)
My score: 10
Track background: Originally leaked/uploaded in late 2011/early 2012 (Last.fm lists my first play on February 7th, 2012), “Gimme a Chance”, in both of its forms samples Enon’s “Knock That Door". Broke with Expensive Taste’s second track, it was written by Harvey Mason Jr., Kevin James, Oskar Cartaya & Azealia Banks. As part of its complete revamp, around two-and-a-half minutes in, its production fully flips into a smooth merengue beat, with Azealia singing then rapping in near-perfect Spanish while background vocal respond, “mira como baila la nena morena.” Azealia has previously stated that she learned Spanish from a Dominican babysitter, who also taught her to cook many traditional Dominican dishes - just one instance of the Latinx/NYC influence she still carries with her today.
See Azealia’s own “16 Days of Azealia” commentary here.
My thoughts: Talk about an upgrade from the demo/early mix. Throw me a shot of vodka and I will perform the Spanish bit without flaw. Seriously, probably my favorite bit on the entire album. Just makes me wanna bailar con mi amor toda la noche. An easy 10. My only disappointment associated with the track is that when she performed this in Detroit, she left out the Spanish bits, but I quickly got over it considering I was at an Azealia Banks concert second row. Also, considering she kinda performs it without the part anyway. It’s definitely in the top tier of her album for me and I’m glad most of y’all saw the same - seeing as its lowest score was only a damn 7. Turn up!
Your thoughts:
@Bangers&Bops (9) - After spitting verses about working her way to the cream of the crop, Banks switches things up in the outro, singing (beautifully!) in Spanish while trumpets blare in the background. This just shows off just how versatile Banks can be when she actually tries.
@KingBruno (9) - This sounds like a celebration full of heavy bass and both disco and R&B impacts. I really like the sudden change of language.
@Kuhleezi (9) - The brass is such a joy. The Spanish part obliterates lives, give us more Azealia!
@He (10) - I remember being so marvelled when the song goes into fucking merengue. Azealia lives and breathes her musical influences. Singing and rapping in almost perfect Spanish, while giving you some Santería blessings at the end. Literally who else does this in such a shiny and cool package?
@AshleyKerwin (8.5) - I like the sample and the Spanish part but those are the most distinctive parts of the song I guess.
@ohnostalgia (9) - Azealia is so amazing at splicing seemingly disparate musical sections into a coherent whole. In a way she reminds me of classical musical composers, with their dazzling and dizzying movements. Both composer and conductor, Azealia wields her brass with breathtaking control and whimsy; seemingly on the brink of derailing, but always always guiding home.
@constantino (9) - This is so fucking cute. A lot of the elements on this track (horns, scratching) don’t usually do it for me in rap songs (they feel a bit overdone at this point) but she sells the shit out of this. The Latin flavourings are an excellent touch - especially considering how vocal she has been in her love for the Latinx community in the past, Dominicans in particular.
@Solenciennes (10) - Love the guitar and horns, sounding like something straight out of a Tarantino classic in places, in others sounding like 90s UK meets supermarket intercom announcement meets Introduction to Spanish 101. Utterly wacky and why I love Azealia.
@Trouble in Paradise (8) - The horns and throwback hip hop vibes are fun, and the spanish curveball is enjoyable even on multiple listens
@Remorque (7) - This one's not as effective as the opener, but it does the trick. It's a bit all over the place, but I'm guessing that's the point. I'm loving the disco touches paired with salsa-ish elements that shouldn't work on paper, but in reality kinda do.
Live performances:
AND OMG
#28
Gimme a Chance
8.577
Highest score: 10 x 10 (@He, @BML, @1991, @JamesJupiter, @LE0Night, @Solenciennes, @soratami, @digitalkaiser, @theelusivechanteuse)
Lowest scores: 7 x 9 (@ThisIsRogue, @kermit_the_frog, @beyoncésweave, @lalaclairi_, @ufint, @Remorque, @CorgiCorgiCorgi, @Vitamin, @Sprockrooster)
My score: 10
Track background: Originally leaked/uploaded in late 2011/early 2012 (Last.fm lists my first play on February 7th, 2012), “Gimme a Chance”, in both of its forms samples Enon’s “Knock That Door". Broke with Expensive Taste’s second track, it was written by Harvey Mason Jr., Kevin James, Oskar Cartaya & Azealia Banks. As part of its complete revamp, around two-and-a-half minutes in, its production fully flips into a smooth merengue beat, with Azealia singing then rapping in near-perfect Spanish while background vocal respond, “mira como baila la nena morena.” Azealia has previously stated that she learned Spanish from a Dominican babysitter, who also taught her to cook many traditional Dominican dishes - just one instance of the Latinx/NYC influence she still carries with her today.
See Azealia’s own “16 Days of Azealia” commentary here.
My thoughts: Talk about an upgrade from the demo/early mix. Throw me a shot of vodka and I will perform the Spanish bit without flaw. Seriously, probably my favorite bit on the entire album. Just makes me wanna bailar con mi amor toda la noche. An easy 10. My only disappointment associated with the track is that when she performed this in Detroit, she left out the Spanish bits, but I quickly got over it considering I was at an Azealia Banks concert second row. Also, considering she kinda performs it without the part anyway. It’s definitely in the top tier of her album for me and I’m glad most of y’all saw the same - seeing as its lowest score was only a damn 7. Turn up!
Your thoughts:
@Bangers&Bops (9) - After spitting verses about working her way to the cream of the crop, Banks switches things up in the outro, singing (beautifully!) in Spanish while trumpets blare in the background. This just shows off just how versatile Banks can be when she actually tries.
@KingBruno (9) - This sounds like a celebration full of heavy bass and both disco and R&B impacts. I really like the sudden change of language.
@Kuhleezi (9) - The brass is such a joy. The Spanish part obliterates lives, give us more Azealia!
@He (10) - I remember being so marvelled when the song goes into fucking merengue. Azealia lives and breathes her musical influences. Singing and rapping in almost perfect Spanish, while giving you some Santería blessings at the end. Literally who else does this in such a shiny and cool package?
@AshleyKerwin (8.5) - I like the sample and the Spanish part but those are the most distinctive parts of the song I guess.
@ohnostalgia (9) - Azealia is so amazing at splicing seemingly disparate musical sections into a coherent whole. In a way she reminds me of classical musical composers, with their dazzling and dizzying movements. Both composer and conductor, Azealia wields her brass with breathtaking control and whimsy; seemingly on the brink of derailing, but always always guiding home.
@constantino (9) - This is so fucking cute. A lot of the elements on this track (horns, scratching) don’t usually do it for me in rap songs (they feel a bit overdone at this point) but she sells the shit out of this. The Latin flavourings are an excellent touch - especially considering how vocal she has been in her love for the Latinx community in the past, Dominicans in particular.
@Solenciennes (10) - Love the guitar and horns, sounding like something straight out of a Tarantino classic in places, in others sounding like 90s UK meets supermarket intercom announcement meets Introduction to Spanish 101. Utterly wacky and why I love Azealia.
@Trouble in Paradise (8) - The horns and throwback hip hop vibes are fun, and the spanish curveball is enjoyable even on multiple listens
@Remorque (7) - This one's not as effective as the opener, but it does the trick. It's a bit all over the place, but I'm guessing that's the point. I'm loving the disco touches paired with salsa-ish elements that shouldn't work on paper, but in reality kinda do.
Live performances:
AND OMG