BLACK GIRL DEBUT MAGIC™ - WINNER

Which album will be crowned the best?


  • Total voters
    79
  • Poll closed .

Mr.Arroz

Staff member
he/him/his
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#27































































































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Cranes in the Parking Lot


8.628


Highest score: 10 x 13 (@1991, @Kuhleezi, @beyoncésweave, @lalaclairi_, @R92, @inevitable, @CorgiCorgiCorgi, @digitalkaiser, @paperboyfriendd, @Sanctuary, @constantino, @Petty Mayonnaise)



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Lowest scores: 5 x 3 (@Trouble in Paradise, @A&E, @Sprockrooster)



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My score: 10


Track background: Written by SZA and Cody Fayne once again, it was also produced by ThankGod4Cody again, too. Featuring a sample of Justin’s Timberlake’s “Set the Mood (Prelude) / Until the End of Time” (eww). It is Ctrl’s sixth track, its third single, as well as SZA’s first #1 on Billboard’s Hot R&B Songs chart, the first for a woman as lead artist in 2017, and the first for a woman since Rihanna in 2016 with “Needed Me”, fourteen months ago. It is currently #29 on the Billboard Hot 100.

SZA, speaking with Vulture:
The song “Weekend” has an honestly genius idea of time-sharing a man. Where did that come from?
Time-sharing a man is real AF. If we’re all being honest there’s very few men that are just dating one woman. I think, low-key, the internet makes it so difficult [to be in relationships] because we’re taking in so much information. There’s always new, new, new, more, more, more. Having one person seems like a restriction, like a limitation. Everyone’s used to being overstimulated.

I feel like men kind of do this thing where they don’t wanna tell anyone about [who they’re with], because they don’t want to lose the opportunity to potentially call you if they needed to. Not saying that they would, but they need the option. So in that song, I’m opting in. Like, I know you have a bunch of girls, probably. Maybe you’re not being honest with me — I just know that you have mad girls — and I still don’t care, because I didn’t want to be your girlfriend anyway! I’m not internalizing the way that you’re acting as a disrespect towards me, it doesn’t make me any less because you’re not my boyfriend. And like, you’re not her boyfriend, and you’re not her boyfriend. You’re just out here wildin’.

And finally - SZA unveiling that she sings from the POV of the main, and not the side chick, as many listeners initially thought (thought it conflicts other things she's said...):





whatever storyline it is tho. Terrific song.



My thoughts: Me parsing the lyrics out during my first week with the album.

JKKKKKKKK.

Actually, this song, even aside from its lyrical content, has been a gem from the jump. Its classic R&B production, how sugary sweet and clear/direct her vocal is, the backing vocals throughout, the shoutout to her more eclectic/indie beginnings with that outro… just everything. FUCK. A perfect song.This just makes me melt, sway, makes me feel. But... if we’re really gonna do ANYTHING here, it’s gonna be one thing:







DRAG



THAT




MOTHERFUCKING



VIDEO.








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I love her but I'm gonna need Solange to chill dd.
Why do the parking lot scenes look like green screen dddd
Because it is!




Now, there can but one logical, sensible reasoning for this. What could it be?

Let's see.




















SZA, 2011:


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Solange, reading this:




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SZA, dancing sans recognizable rhythm, on a video set, 2017:




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Solange, editing the bullshit and clicking ‘upload’ on Youtube, in 2017:




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Nah, but for real tho. That video fucked with my emotions just like only a true fuckboy © would, so I guess...um... mission accomplished, SZA.



VSB says it best tho:

I know it’s slightly blasphemous to say anything negative about Solange, but girl, stop. For a song that LITERALLY lends itself to a storyline video that could have been a great internet moment (for the right reasons), this shit is a total dud. It’s boring. It’s uninspired. It’s basically “Cranes in the Sky” except without the feeling of “Oh shit, we got a Solange video for the best song on her album that totally surprised us all, so let’s just look at Solange be awesome for a video.” Solange absolutely could not drop that same video again to the same response.


But she tried anyway, except it’s not nearly as interesting AND used a song tons of folks were talking about, and now I’m annoyed because, I mean, shit, we should have gotten one of those epic ’90s videos that was basically a short movie turned into a music video, not this artsy four-minute video of a rhythmically challenged SZA doing that thing we all do in the mirror before middle school dances when we realize other people are going to find out we can’t dance if we don’t spend at least seven minutes “practicing.”



What a WASTE of everyone’s time.



Anyway, “The Weekend” was published on Youtube on December 21st, 2017, and currently sits at nearly 4.4 million views.





Your thoughts:
@Jwentz (9) - @Petty Mayonnaise's signature better stan

@Bangers&Bops (9.5) - Not only are the lyrics relentless and unapologetic, the beat is gorgeous. Every layer of the instrumental was made for this specific song and feeling.

@KingBruno (7) - Why sample Until the End of Time? Choices.


@Mr.Arroz sidebar:
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@Kuhleezi (10) - Don't know if we still use the term round here, but this is such an A+ thrasher. And 'You're like 9 to 5 I'm the weekend' is my new favorite read.

@Posh Spears (9) - Give me that gorgeous minute-long intro that I love!

@ohnostalgia (7.5) - I don’t really understand what’s happening but it seems like a Sisterhood of the Travelling Man situation and honestly that’s probably the best way to manage dealing with one.

@constantino (10) - The intro just makes me melt everytime. I have had a number of discussions with people who have criticised Solána for furthering the whole side chick narrative, but...that’s her truth. I love this album because it’s about her coming out and saying that she is more than just a side chick in a colourful, expressive and bold statement. Along with Love Galore, this has been the biggest grower for me on the album - the refrain is inescapable.

@Solenciennes (9) - The Weekend has a nice vibe to it, kind of subdued, kind of sad, kind of hopeful. Kind of like most of my weekends, come to think of it.

@Trouble in Paradise (5) - Honestly the lyrical tropes are pretty lame to me, and the song feels flat production wise.

Girl....

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Delete your account.




AN-TY-WAY




Music video/live performances:

https://www.youtube.com/watch?v=n9CcLElrG6M
https://www.youtube.com/watch?v=SP2iZ5kR0mU
https://www.youtube.com/watch?v=5YB5IzMxq5Y








One more out a little later!!!
 
Gimme a Chance proves why she is leagues above most artists today, especially her contemporaries in Rap music. The sheer amount of creativity that's put into this song is like.. astonishing. Who else is bringing so many influences from all different cultures/musical genres and making it feel so authentic? There's no appropriation here. This is what I love about Azealia, she dips her foot into any world and makes it her own, whether it's House, EDM, Surf Rock, Pop, R&B, Indie Rock or just straight up spitting bars. Nothing is being borrowed for the sake of a hit or a bid to further her own career, it's because she's a real creative who loves music. Then she starts rapping and singing in Spanish?

Gimme a Chance proves why Azealia Banks is that girl.
edWfGqt.jpg
 
Hmm. A 5 (which is an average score in my book), was a bit of an underscore. It has definitely grown a bit again during my last play of CTRL. Didnot know there was a video. Havenot watched yet, so maybe keep it that way?
 

Mr.Arroz

Staff member
he/him/his
LAST ONE.




























































#26
























































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Bated Breath


8.654


Highest score: 11 x 1 (@Solenciennes)

10 x 15 (@1991, @Heaven on Earth, @Posh Spears, @Kuhleezi, @ohnostalgia, @K94, @beyoncésweave, @Bangers&Bops, @CorgiCorgiCorgi, @theelusivechanteuse, @2014, @constantino, @Petty Mayonnaise)
Lowest scores: 6.5 x 1 (@JamesJupiter)
6 x 2 (@He, @KingBruno)
My score: 10


Track background: Written by Tinashe alongside the track’s producer, Ritz Reynolds, “Bated Breath” is Aquarius’s second-to-last original track. Its music video premiered on March 4th, 2015. You can catch PJ’s reaction to it here.


My thoughts: I was honestly completely skeptical about Tinashe’s vocals when I first started paying serious attention to her when “2 On” came out, especially knowing she was finally putting out a major release back that same year. And to be honest (again), this being one of my first tastes of her live showings… I wasn’t impressed, to say the least. But with “Pretend”, I started to come around, a bit - and when the album itself finally dropped, it was “Bated Breath” that literally changed everything. Nearly six minutes of beauty, this is what had the power to convince me that she wasn’t another flash-in-the-pan female R&B singer whose vocals lived and died in the studio booth. The fact that the lyrics hit really close to home for many a queer person too is definitely a plus. Especially as Tinashe herself has spoken on her bisexuality early on in her career, which gives it another reading, as @ohnostalgia picks up on in her own commentary.

This deserved top 20, without a doubt.



Your thoughts:
@Solenciennes (11) - Best song on the album. Beautiful ballad, the gravelly murmurs peppered throughout are great and the emphatic ending to the song is the best outro here. Absolute fave.



@TRAVVV (9) - Her discography needs more belty ballads like this.

@digitalkaiser (7) - This is a beautiful soft moment on the album, but at this point for me the album dips a bit and I almost feel like I could start it over. Great vocals, Beautiful vocals.

@Bangers&Bops (10) - Here's where Tinashe has been hiding her pipes for much of the album's runtime. Just on the verge of love, "Bated Breath" is the emotional stalemate just before taking the big leap: "You're still waiting on the moment, breath is bated/ I wish I could hold you, I can't take it." The atmospheric soundscape and extended piano breakdown help this ballad resonate deeply.

@Posh Spears (10) - Heartbreakingly gorgeous. It may be 6 minutes long but every time I listen to it I still never want it to end.

@ohnostalgia (10) - This is so obviously a sapphic love song I cannot believe I didn’t pick up on it earlier.


What if I told you it was all in vain? Would it still hurt you, would you still feel the same. Said it’s impossible, impossible. So impossible. But you’re still waiting on the moment, breath is bated. I wish I could hold you, I can’t take it. Tell you all my secrets, I’m too faded. Praying that tomorrow I’ll be braver. Maybe I can tell you, maybe I can do this. Kisses on my forehead we can fall into it.“


Absolutely no pronouns, intense longing for someone you think you’ll never have, anger and frustration that you can’t escape your closet, careful consideration of varying degrees of outness. I just- it’s phenomenal really, both emotionally and musically resonant to me in so many ways. I’m slowly getting braver but wowwww this hurts my poor bisexual heart because I have been there. You bet you’ll be seeing this in my sapphic rate, coming absolutely no time soon!

@constantino (10) - The adlibs, the OPULENCE. This is your moment, Tinashe, take it and milk it! ‘Cus we all know it’ll be a while ‘til we get your next deep cut. The piano gets me every time.

@Trouble in Paradise (7) - Really nice atmospheric song, the ending brings some extra drama vocally and production-wise.

@Remorque (10) - The atmosphere... The soundscape... One of the most lush songs I think I've ever had the pleasure of hearing.



Music video / live performances:







Not her basically lip-synching tho.


















That’s all today guys. I’ll do a top 25 post in a bit!
 
I only have 7 x 10s (including 1 x 11) remaining and...

Chasing Time needs to get the fuck out - it's Miss Camaraderie's less interesting sibling and I am disgusted that people prefer it (though after what happened to Dawn I am not surprised).

The Weekend leaving before Top 20 is the final nail for me... should've upped that 9 to a 10...
 
Last edited:
But you're still waiting on the moment
Breath is bated
I wish I could hold you
I can't take it

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What if I told you that it was all in vain?
Would it still hurt you?
Would you still feel the same?
Said it's impossible-possible
So impossible



But you're still waiting on the moment breath is bated
I wish I could hold you, I can't take it
Tell you all my secrets
I'm too faded
Praying that tomorrow I'll be braver
Maybe I can tell you, maybe we can do this
Kisses on my forehead we can fall into it
Love you like the rain, that falls much faster
Living in a piece of ever after
Forever after
Living in the piece of ever after
Ever after, ever after


If you will have me
I'll make you happy
Need someone to whom I can belong
Here's my confession
Saving it special
Hoped it would be you all along
All along
All along
All along

But you're still waiting on the moment breath is bated
I wish I could hold you, I can't take it
Tell you all my secrets
I'm too faded
Praying that tomorrow I'll be braver
Maybe I can tell you, maybe we can do this
Kisses on my forehead we can fall into it
Love you like the rain, that falls much faster
Living in a piece of ever after
Forever after
Living in the piece of ever after
Ever after, ever after
Truly a relatable, quotable anthem.
 
Gimme a Chance proves why she is leagues above most artists today, especially her contemporaries in Rap music. The sheer amount of creativity that's put into this song is like.. astonishing. Who else is bringing so many influences from all different cultures/musical genres and making it feel so authentic? There's no appropriation here. This is what I love about Azealia, she dips her foot into any world and makes it her own, whether it's House, EDM, Surf Rock, Pop, R&B, Indie Rock or just straight up spitting bars. Nothing is being borrowed for the sake of a hit or a bid to further her own career, it's because she's a real creative who loves music. Then she starts rapping and singing in Spanish?

Gimme a Chance proves why Azealia Banks is that girl.
edWfGqt.jpg
Perfect post. Reminds me of the Pitchfork review for Broke, which I loved and think about a lot.

The party line among hip-hop aficionados is that New York rap currently lacks a distinctly New York identity. There’s some truth to it. The city’s biggest success stories of late involve locals breaking out by spicing Big Apple grit with outside flavors, from A$AP Mob’s Texas screw fixation to French Montana’s trap circuit traction to Nicki Minaj’s day-glo EDM daze. But the scene in 2014 can’t look like it did in 1994 or even 2004, and it’s becoming increasingly clear that the Statlers and Waldorfs pining for a new age of rappity boom bap wouldn’t notice a new New York if it came up and offered them molly in a Brooklyn bar bathroom.

Well, Azealia Banks is it, and Broke With Expensive Taste is a reminder that the corner of Harlem that she claims is walking distance from both Washington Heights and the Bronx, where you’re as likely to hear hip-hop booming out of apartments and passing cars as freestyle, reggaeton, house, or bachata. It’s a quick subway jaunt away from the landmark clubs where ball culture persists, as well as perennial dance parties at Webster Hall and the glut of eclectic Lower Manhattan concert venues. Broke With Expensive Taste glides through all of these, just like the faithful 1 train sampled on "Desperado". Both album and the artist revel in the freedom of a New York City where divisions between these sounds and scenes have ever so slowly ceased to exist.

I’ve been returning to the album a lot during this rate, and honestly it’s such a classic. One of the best debuts of all time. Don’t @ me.
 

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