I’m willing to take the high road and chalk it up to Yasunori Mitsuda’s genius, though I’ll wager the Alley Boy track is easily a cut above the more-hyped Khalifa, Rick Ross and Amber Rose cut. You’ll also hear Sledgren reprise his Chrono Trigger sampling from Kush & OJ with “Never Been Part II”, a song that carries plenty of controversy with it considering Alley Boy released a song with the same sample a month earlier and a couple underground rappers have flipped it as well. Most of the other beats are handled by Taylor Gang’s established players, with Cardo doing his typically enthusiastic stoner vibe while Big Jerm underwhelms a little compared to his previous work. If you’re aware of the production on albums like Uncut Raw by First Toke or Dwight Spitz by Count Bass D, the two tracks handled by Dumont are well worth a listen. Other than Sparky Banks and Dope Couture he’s the only unknown to me across these seventeen tracks, and yet with only two beats he’s able to completely jack the spotlight. Stealing this tape are the producers and chief among them is Dumont. It’s no Cabin Fever trainwreck of a phenomenon, that’s for sure. A variety of issues halt this tape short of that being the case, but I suppose one does have to tip a hat to Khalifa for trying. This mixtape arrives on the heels of that, complete with Khalifa’s apology for it’s radio-bending nature as well as a promise Taylor Allderdice would be what fans of Kush & Orange Juice had hoped Rolling Papers would be. It was an album that’s quickly become much easier to look back on and think… “Yeah, I suppose that was all right” rather than actually listen to. Taylor Allderdice was announced as a sort of mea culpa to the more hardcore fans for his major label debut, Rolling Papers, an album which contained enough of Wiz’s more popular mixtape traits - smooth flow, dope beats, annoyingly engaging hooks - to keep lightweights coming back yet felt decidedly light on content as a whole. Granted that was a collaboration with Snoop Dogg, but even more enthusiastic fans of Snoop’s more recent work (such as myself) would have been surprised that project came out as anything other than a slobbered-over mess.
WIZ KHALIFA TAYLOR ALLDERDICE TRACKLIST MAC
I was (and am) also a huge fan of the most recent Wiz Khalifa project, Mac & Devin Go to High School. Atmosphere-wise it’s a perfect blend of Curren$y’s latest endeavors and a more, shall I say, dusty jazz template that speaks to me quite openly. It’s the sort of mixtape I should totally be predisposed to demanding yet I’m decidedly not. It is now a word to generally describe full-length albums released for free, which is the modern form of mixtape that was made a popular following by 50 Cent and his group G-Unit in the early 2000s, sometimes containing all original music, other times composed of freestyles and remixes of popular tracks.Taylor Allderdice is so weird to me. In the hip hop scene, mix tape is often displayed as a single term mixtape. Also since the 1990s, it describes releases used to promote one or more new artists, or as a pre-release by more established artists to promote upcoming "official" albums. Blend tapes became increasingly popular by the mid-1990s, and fans increasingly looked for exclusive tracks and freestyles on the tapes. Ron G moved the mixtape forward in the early 1990s by blending R&B a cappellas with hip hop beats (known as "blends"). In the mid-1980s, DJs, such as Brucie B, began recording their live music and selling their own mixtapes, which was soon followed by other DJs such as Kid Capri and Doo Wop. (who later became known as Whiz Kid) and DJ Super V would create personalized House Tapes which would eventually circulate throughout New York City. In the late 70's into the early 80's DJs began recording mixtapes out of their homes, referring to them as House Tapes. As more tapes became available, they began to be collected and traded by fans.
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Hip hop mixtapes first appeared in the mid-1970s in New York City, featuring artists such as Kool Herc and Afrika Bambaataa. In hip hop's earliest days, the music only existed in live form, and the music was spread via tapes of parties and shows.