One of the best new rappers to hit the scences...def will be next up..this is 2nd mixtape but all the reviews have loved. All the leak tracks have been fire so I"m hoping good things.

http://batshare.com/w59lbzi5xevn

Chanceraps.com

i haven't made it past that song yet.

.

This ain't just some shit he picked up to be cool or just because
everybody else was doing it. The way he crafts his songs isn't
some run-of-the-mill shit.
He's spittin' like crazy, he can be incredibly melodic or straight
spit, and the nigga can actually sing while he playin'. And these
beats he's rapping over are heavy on musicality while still being
fresh. This my new favorite rapper for real.

in a couple of years dude is going to be a star.

Listening through now...not too much hitting with me but the That's Love interlude is great. Thought the Pusha Man track was a bad Kendrick impression

And then tracks 8-10 are all dope...this kid has my attention

the slum sample is dope

the interpolation of the SV sample, Chance's lyrics, the mood, all phenomenal.

Better than 10 Day. I didn't even have to skip over the Childish Gambino verse.

10Day was raw he is def more polished and focus on here

remind me of wayne then i start trying to compare em, but dude is nice



*edit*

Everybody's Something. . . WHEW! I'll hush now

http://www.youtube.com/watch?v=NFg6OdORJcQ#t=0m25s

lost and everybody's got something are very NICE

glad i downloaded 3.5/5

http://www.youtube.com/watch?v=NFg6OdORJcQ#t=0m25s
?

TAlking about annoying voices... NIGGA NO

But I see you stanning in here for Chance, so do ur thang. But I'll admit this, after 4 listens now, he voice no longer bothers me and I'm compelled to speak very highly of his ear for melody while rapping and singing. Pusha Man, Somebody's Everything, Lost and Nana are great fucn rap songs. It's really really growing on me from enjoyable listen to borderline great

>I'll admit this, after 4 listens now, he voice no longer
>bothers me and I'm compelled to speak very highly of his ear
>for melody while rapping and singing. Pusha Man, Somebody's
>Everything, Lost and Nana are great fucn rap songs. It's
>really really growing on me from enjoyable listen to
>borderline great

i'm right with you on that. damn near word for word

IMO.
We were just young when Pharcyde dropped. More rappers had high
voices like that back then actually (probably another reason Pharcyde
didn't catch anybody off guard). So much so, that it's weird to me
to see people attribute it to Lil Wayne. Either way, it's cool
that his talent being recognized. That's wassup.

>But I'll admit this, after 4 listens now, he voice no longer
>bothers me and I'm compelled to speak very highly of his ear
>for melody while rapping and singing. Pusha Man, Somebody's
>Everything, Lost and Nana are great fucn rap songs. It's
>really really growing on me from enjoyable listen to
>borderline great

.

but that nigga dont sound like tip, he sound like wayne lol

but the voice is no longer a problem and that tape is great.

All of the guests work and the production is top-notch. He seems to be moving further into singing-rapping hybrid style. Im liking how many of these new rappers are able to be "lyrical" and also do quality hooks.

http://www.suntimes.com/entertainment/19796381-421/chance-the-rapper-continues-his-artistic-climb-with-acid-rain.html
Chance the Rapper continues his artistic climb with ‘Acid Rain’
April 29, 2013 8:21PM

Chance the Rapper, “Acid Rap” ★★★½

One of the most difficult feats in hip-hop is the ability to create a fully cohesive project. Rising Chicago artist Chance the Rapper did that on his debut, “10 Day.” With “Acid Rap,” his follow-up mixtape, he proves it was no fluke as his latest adds to the composite picture of Chance as an artist and a person.

“Acid Rap” picks up where his debut left off, as the lead track, “Good Ass Intro,” starts off with a familiar blend of soul-and-juke aesthetics that have become Chance’s calling card. The track also is completely Chicago, with production from his go-to team of Peter CottonTale and Stefan Ponce blending with the sultry sounds of Lili K and Kiara Lanier and vocals by BJ the Chicago Kid. With horns, thoughtful lyrics and a throbbing bass, it’s obvious why Pitchfork Media recently named it as a “Best New Track.”

Other standouts are “Cocoa Butter Kisses” with Vic Mensa of Kids These Days and produced by CottonTale & Cam Osteen, and the title track, “Acid Rain,” produced by Jake One.

“Cocoa Butter Kisses” slows things down, with CottonTale’s instrumental production setting the stage for Chance and Mensa’s love of tobacco. As Chance, who often is pictured with a cigarette dangling from his lips, raps on the intro, it’s difficult to know if he even manages to take a breath. Mensa, a longtime friend and a fellow Save Money member, also provides a preview of his “Innanet Tape,” due in June.

Chance also gets introspective, commenting on his relationship with Mensa (“I still get jealous Vic/And Vic still jealous of me”), carrying the torch for Chicago (“Took the team up off my back, like that’s not your jersey”) and his drug use (“I trip to make the fall shorter.”).

“Chance paints a picture with his songwriting,” said CottonTale in an interview with the Sun-Times. “It’s very personal and relatable at the same time.”

“Acid Rap” could well be the biggest hip-hop release to come out of the city since Kanye West’s “College Dropout.” Fortunately, it lacks any semblance of West’s attitude or cockiness.

— Jake Krzeczowski

With that college dropout reference

not a fan of rappers doing the whole 'weird oscillating voice' thing, i prefer straight spitting. Though I will say he definitely has an ear and can write hooks.
I look forward to his growth over the years.

but better than both (IMO, not a DB fan)

Then he got rhymes, then he got hooks, plus he understands how to make himself part of the production...the beats don't carry him, he carries the beat...he blends in well.

>Then he got rhymes, then he got hooks, plus he understands
>how to make himself part of the production...the beats don't
>carry him, he carries the beat...he blends in well.

i'm a fan.

http://www.billboard.com/articles/columns/the-juice/1560127/chance-the-rapper-talks-acid-rap-mixtape-navigating-major-labels
Chance the Rapper Talks 'Acid Rap' Mixtape & Navigating Major Labels
By Reggie Ugwu, N.Y. | May 01, 2013 1:03 PM EDT
"My plan is to get in people’s face as hard as Chief Keef did, possibly harder." – Chance the Rapper

In high school, Chance the Rapper was the kid with the backpack full of CDs, hustling in hallways, foisting his latest mixtape on unsuspecting classmates. Now he plays coy in meetings with major labels, biding his time while big numbers and grand schemes are discussed casually over pizza. His newest mixtape, "Acid Rap," has been downloaded an estimated 50,000 times (including DatPiff and chanceraps.com numbers) since it's release yesterday (Tuesday, April 30). But even before then the emergent rapper from Chicago had already flown to New York and L.A. at the behest of Columbia, Republic, Def Jam, RCA, Atlantic, Interscope, Shady and Capitol, amongst others. In Austin during SXSW, where he was tapped by Red Bull to perform a showcase, Lyor Cohen reached out.

"I don't really like meetings, I like recording and performing music," says Chance, born Chancelor Bennett, 20. "But I need to set myself up for when the time does come that I need better distribution or just a bigger team behind me."

Team Chance as it stands today is small but fierce and shrewdly effective. It includes his manager, Pat Corcoran, 23, a level-headed former promoter and blogger in Chance's Chicago-based Save Money collective; publicist Dan Weiner, who also represents Donald Glover and started working Chance for free after seeing him at SXSW in 2012; and superstar CAA agent Cara Lewis, who added Chance to a roster that includes Kanye West and Eminem among others.

"Me and Chance have always had a chip on our shoulder like ‘We can do this and it doesn’t take much, just don’t be an idiot," says Corcoran, who started working with Chance in April of last year after the release of his first solo mixtape "#10Day." "Dan and Cara have been kind of like our insiders. They’ve been amazing while we get to know people and figure out what’s right for us."

Weiner put Chance on tour with Glover, a.k.a. Childish Gambino, in May 2012. In July, Chance, who has a penchant for arresting shifts in vocal tone and cadence, landed a standout appearance on the Gambino's own hit mixtape "Royalty."

"Chance is easy to make songs with because he's talented and fun to be around — it's like hanging with your little cousin," Glover says. "When he opened for us, I always heard people going nuts. You don't see a lot of rap acts, especially young acts, that can perform on that level. "

Glover wasn't the only one who was impressed by Chance's feverish live show. In August, he and Corcoran had their first meeting with Lewis, who instantly became smitten. They spoke for an hour-and-a-half and she came on-board 10 minutes after the meeting. The first major labels started calling when news of her involvement got out.

"An emerging artist today can be a superstar tomorrow, but they have to have certain qualities," Lewis says, explaining how Chance won her over. "Chance is extremely charismatic and has an uncanny ability to connect with any audience. You can tell his heart and soul is in it."


At home in Chicago, Chance's support network includes his 15-year old little brother, Taylor, and the rest of the sprawling, multi-disciplinary Save Money crew. Save Money came together when most of the members were freshmen in high school and were performing individually at parties and open mic nights. It includes the rappers Kids These Days, Kami De Chukwu, Vic Mensa, Caleb James, Brian Fresco and Joey Purp; the producers Peter Cottontale, Nate Fox and Thelonius Martin; and in-house filmmaker Austin Vesely, who has directed nearly all of Chance's videos.

From the beginning, Chance's high school hustling bled into a broader business strategy that saw Chicago's close-knit youth community as its target. After finishing at Jones College Prep, he started something he called Save Money School Days, where he and Corcoran would visit schools around the city selling cheap tickets to Chance the Rapper shows and doing meet-and-greets with the students.

"We'd show up at some schools and they'd have the gym ready and make a PA announcement," says Corcoran. "Chance would sign posters and take pictures with all the kids and give hugs to the girls and stuff. It could get pretty crazy. A few times we were chased away by the cops."

This March, the youth strategy graduated to college campuses when Chance and Kids These Days embarked on the "March Madness Tour," which stopped at seven colleges over 10 days.

"I just turned 20, so the majority of time that I've made all of my music I've been a teenager," Chance says. "It just made sense that that would be the foundation. Everything we've done has been really grassroots."

As his star rises, the significance of what this means— speaking to and for kids in Chicago at this particular moment— is not lost on Chance. In 2011 he watched a close friend get stabbed to death in a flare of the city's pandemic violence. That incident, and countless others like it, haunt the "Acid Rap" track "Pusha Man," on which he breaks into a striking soliloquy.

"They merkin' kids, they murder kids here. Why don't they talk about it? They deserted us here."

"It's crazy how many people die here and how crucial it's about to be this summer," Chance says. " Keef put it in everybody's face and people didn't like it, but that's how it is. It affects everybody here personally. Motherfuckers that are 15 and 16 caught bodies already and that's not normal. So my plan is to put it in people's face as hard as Chief Keef did it, and possibly harder. Because if nobody talks about it, nothing gets done."

In the wake of "Acid Rap," Chance will continue to build in Chicago with a series of shows opening for Kendrick Lamar, Toro y Moi, Grimes and others. He hopes to venture out on his first major tour in June, culminating in a return to Chicago for Lollapalooza in August. The summer will indeed be crucial, but his crew is ready.

even niggaz ass niggaz I know like this its just good music.

I'm scared of when he get signed already lol...He could go so many ways

moved my score upto a 4/5

Acid Rain really stands out tho

http://www.spin.com/reviews/chance-the-rapper-acid-rap-mixtape/

Chance The Rapper - Acid Rap 8 of 10

May 2 2013, 1:36 PM ET by Brandon Soderberg

There are way too many ideas on Chance the Rapper's Acid Rap mixtape, but that's a good thing. Woozy, collage-like tracks don't stay one way for long, and lyrical conceits are held together by impulsive tangents and "woah, dude" thought experiments. On "Everybody's Something," a quasi-romantic though mostly real-talk evaluation of how and why we learn to care for one another, the 20-year-old Chicagoan mentions that God doesn't seem to answer his calls, imagines Jesus' Twitter account, wonders if he would even bother to follow that Twitter account, and while you're catching up with that Web 2.0 faith crisis, reminds you of his hometown's hallowed blues tradition. Then he zings the Rolling Stones for being mad late on co-opting that stuff.

His new mixtape's best moments gain their power from such good-idea/bad-idea indulgences and batty risk-taking. Nerdy, nostalgia-soaked highlights "Cocoa Butter Kisses" and "Acid Rain" shout out the color of his old Nickelodeon sing-along cassettes (bright orange) and some of his favorite childhood foods (grilled-cheese sandwiches, cut diagonally). Both tracks are backed by gasping, glowing beats that seem to be eating themselves from the inside. The most thrilling moments, though, come when Chance gets a chance to cartoonishly contort his voice, as on the angular "Juice" and the menacing marching-band freakout "Smoke Again"; Kendrick Lamar's rubbery cadence comes to mind, but Chance injects plenty of quirk and specificity. On the very good kid, m.A.A.d. city-like "Pusha Man," he naggingly gargles a schoolyard taunt, suggesting that the shit-talking dealer who think he's transgressive is really just a petulant child, but the track's second half diagnoses the brain-fried paranoia that comes with hustling, and affords some sympathy to that very same dealer. Moreover, those two halves are split by almost 20 seconds of complete silence, ratcheting up the tension, and also making it clear that Chance is entirely in control. His music will stop dead for nearly half a minute, if he wants it too.

But then, as if he's suddenly sobered up and realized he needs to get to the point, Chance unleashes a long rant about Chicago's crime rate and the resultant media apathy:

They murkin' kids
They murder kids here
Why you think they don't talk about it?
They deserted us here
Where the fuck is Matt Lauer at?
Somebody get Katie Couric in here
Probably scared of all the refugees
Look like we had a fuckin' hurricane here
And we shootin' whether it's dark or not
I mean the days, it's pretty dark a lot
Down here, it's easier to find a gun than it is to find a fuckin' parking spot
No love for the opposition
Specifically a cop position
Because they've never been in our position
Getting violations for the nation correlating you dry-snitchin'

Such an off-the-rails flow creates the sense that at any moment, a verse — or a full song, or the entire record — could crash and burn and overdose on audacity. It's the same anything-can-happen intensity that street-rap delivers, just more abstract, with a more worldly-wise sense of what matters. "Good Ass Intro" features the soulful voice of BJ the Chicago Kid alongside five other singers, backed by ghettotech-tinged juke, the wild local dance music that serves as a party-ready analogue for Chance's delivery: beats as lithe and manic as his raps. There is even a similar, beyond-words sense of escape to both juke dancing and Chance's free-as-a-bird rapping, where words' meanings become less important than the meditative, temporarily transcendent qualities of unhinged expression.

Certain kinds of rap jerks will inevitably set up a big dumb binary between Chance — 20 years old, from Chicago's South Side, and a wordy sing-song scat-rap yammerer; and Chief Keef — 17 years old, from Chicago's South Side, and a seething sing-song laconic mumbler. But don't buy into it (Chance even shouts out Keef on "Juice"). There is more than one way to vent your spleen on behalf of your seemingly forever-fucked city, and both approaches are vital. For Chance, it's an endless burst of wordplay, half-idyllic memories of youth, and sensitive-dude concerns aired out in a voice that invokes the somber squeak of Kendrick Lamar, the I'm-already-a-genius swagger of Kanye West, and a dick-swinging Lil Wayne at his most drugged-out.

It may be frustrating to immediately place him in the context of so many other, more established rappers, but the comparisons are there: Chance is a next-to-the-'hood, good-kid insider/outsider a little too willing to remind you that he's a good-kid insider/outsider, and that's pure Kanye and Kendrick. But at just 19, aspiring to compete with such ambitious rap visionaries, and mostly succeeding, is an impressive feat. Call him the anti-Keef, if it's the only way to make him matter to you. But more importantly, Chance the Rapper is a wide-eyed talent figuring out the world one deeply felt rap song at a time. That's why he matters.

and hella butt hurt too

http://stereogum.com/1338682/mixtape-of-the-week-chance-the-rapper-acid-rap/franchises/mixtape-of-the-week/

Mixtape of the Week: Chance The Rapper - Acid Rap
May 1st '13 by Tom Breihan @ 3:03pm

Chance The Rapper is going to irritate the shit out of a lot of people. This is unavoidable. His voice is a pitched-up puberty-squeak, cracking and cackling and warbling all over tracks, never quite flowing even when it flows. And when he does lock into a straightforward rap cadence, he leaps out of it just as quickly, singing euphoric nonsense in a knowingly grating infantile jazz-scat thing. He’s an undeniably talented rapper, but the first time you hear his new mixtape Acid Rap — and you’re probably still on your first time, if that, since the thing is less than 24 hours old — you might have a whole lot of trouble hearing beyond that voice or the word-games that Chance loves to play. He’s arty, perma-stoned, all-over-the-place, desperate to stand out in a way that seems distinctly teenage even if you don’t know that Chance is, in fact, a teenager. But when Acid Rap starts to sink in, something that doesn’t take too long, it quickly becomes obvious that the mixtape, like Kendrick Lamar’s Good Kid, m.A.A.d. City, is a document of a furiously smart and talented young guy attempting to make sense out of a world that doesn’t make any sense. But unlike Kendrick, he’s not flashing back to his high-school years to dive into all of these questions; he’s figuring them out in real time in front of us.

Here’s Chance’s story: He’s 19, from Chicago’s South Side, the vast region of the city that’s turned depressingly apocalyptic in recent years. But he went to Jones College Prep, a prestigious high school in the city’s downtown, and spent enough time hanging out with white kids there that he now cites Jamiroquai as an influence. During his senior year, he was suspended from the school after getting caught smoking weed, and he started work on 10 Day, the 2012 mixtape that put him on the map. If that tape was the (tremendously endearing) dry-run, Acid Rap is the fully-formed introduction to the world, the complete and cohesive announcement that a rare and serious talent has arrived. On the tape, Chance favors sun-dazed jazz and soul samples as busy and cluttered as his own delivery, swollen bits of orchestral psychedelia that always hit from weird angles, like the way “Lost” producer Nate Fox chops up a frequently-used Willie Hutch sample just a bit more than usual, interrupting it enough to keep you on your toes.

Because of Chance’s verbosity and his musical aesthetic, people will want to paint him as a corrective to Chief Keef, his fellow South Side teenage rap phenom, and the drill music scene he represents. That’s wrong. Chance, in fact, shouts out Keef on “Juice,” Acid Rap‘s first single, just so that nobody will make that mistake. And he can get just as ignorant as Keef, in his own oblique way. In Acid Rap‘s most risible moment, he calls himself a “slaphappy faggot slapper”; he could’ve goddam well found something else to rhyme with “hacky sacker” and “cocky khaki jacket jacker.” And he spends a whole lot of time rapping about drugs and cigarettes with the head-blown fuzziness of someone so young that he hasn’t yet learned firsthand that drugs and cigarettes have a downside. Even so, though, he has more fun, and finds more interesting ways, to talk about drugs and cigarettes than just about any other rapper in recent memory. Like this line: “Lean on a square, that’s a fuckin’ rhombus.” He’s talking about dipping cigarettes in cough syrup, but he’s making a head-spinningly smart math-nerd pun out of it, constructing the punchline elegantly and economically but treating it like it’s a throwaway line. There are hundreds of tiny little word-games like that embedded deep in Acid Rap, and it’ll take me way more than a day to dig them all out.

But the most alive moments on Acid Rap come when he turns that word-drunk eloquence toward his stuck-in-the-middle situation, talking about being a smart and fundamentally decent kid trapped between poor black and rich white worlds, not quite sure where he fits in, like Michael Jackson in the “Bad” video. On “Everybody’s Something,” he gets deep into skin-tone identity crises: “I used to tell hoes I was dark light or off-white / But I’d fight if a nigga said that I talk white / And both my parents was black, but they saw it fit that I talk right / And my drawers here, but my head and my heart stayed in the clouds like a lost kite.” On “Cocoa Butter Kisses,” he’s lamenting lost innocence and wishing his elders would still look at him like a little kid even though he knows he’s doing stuff they’d hate: “Put Visine inside my eyes so that my grandma would fucking hug me.” On “Pusha Man,” he’s straightforward but sharp about the desolation around him: “They be shooting whether it’s dark or not / I mean, the days is pretty dark a lot / Down here, it’s easier to find a gun than it is to find a fucking parking spot.” Summer, that brief sliver of time where Chicago weather turns glorious before returning to hellish-barren-winterscape status quo, turns out to be the worst time of all: “It just got warm out, this the shit that I’ve been warned about / I hope that it storm in the morning, I hope that it’s pouring out / I hate crowded beaches, I hate the sound of fireworks / And I ponder what’s worse between knowing it’s over and dying first.”

Chance might get lumped in as an internet-rapper, and Acid Rap has a few contributions from products of the internet-rap zeitgaist: Ab-Soul telling potty jokes, Childish Gambino making “Harlem Shake” jokes, Action Bronson actually singing. But a big problem with internet-rap is that it loses the sense of place that’s always been so central to rap, and Acid Rap does not have that problem; it’s a Chicago record through and through. The orchestral-soul aesthetic put it in a lineage that runs through early Kanye West back through the Curtis Mayfield records that Kanye was sampling. At the end of “Acid Rain,” he sings R. Kelly’s “The World’s Greatest,” flipping them to turn them into straight gospel rather than implied gospel. The awkward lightspeed drum-stutters of footwork show up from time to time, especially on the album outro, where they rampage all over the expansive horns and pianos of the intro. And on “Cocoa Butter Kisses,” Chicago rap originator Twista shows up with a frankly jaw-dropping triple-time verse, cramming syllables in your ear way quicker than you can possibly process them. “When it come to fast-rapping, I’m like Higgs Boson,” says Twista, and yeah, pretty much. (He rhymes it with “Voltron.”)

So Chance is an internet guy and a Chicago guy, and both of those things are central to his identity. But more than either of those, he’s a razor-sharp rap dreamer, like Kendrick, like Earl Sweatshirt, like Andre 3000, like fellow Chicagoan Common Sense, like “I’m so high I could eat a cloud”-era Lil Wayne. And he’s fully willing to push his voice and his delivery to irritating extremes because a regular lead-footed rap style wouldn’t let him get as expressive as he needs to be. The best thing about the online mixtape explosion in recent years is that it’s emboldened rappers like Chance, kids with things to say, to push themselves as far as they need to go, because anything good enough, no matter how weird, will find an audience. Chance will find an audience, probably a huge one. He deserves one.

lord knows i tried to put yall
fickle muhfuggas onto 10day.
instagram pic from 63 weeks ago
so you know it's real.....

http://instagram.com/p/G_yMpcpghZ/

save money.
normalmogs.
chicago.

~~~Tron~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I'm glad folks was catching on he has grown so much from 10 Days 2

>I'm glad folks was catching on he has grown so much from 10
>Days 2

you've always been one of the more open minded
okps tho from my knowledge. not everybody
on here celebrates the greatness that is mannie fresh.

~~~riedy~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

you have to work for kudos, boy!

>you have to work for kudos, boy!

http://www.youtube.com/watch?v=obKLdou0LH0

tip your bartenders everybody.

~~~riedy~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

in that there's a ton of ambition, all the talent is there and you can't front on it

but at the same time, the ideas don't feel polished off. I like Chance on this tape more than I liked Kendrick then, so I'm not trying to say that as a put down. But Kendrick went from a 3/5 tape with O.D. to a 4.5/5 album with S.80, and I think Chance could be that same type of artist.

Acid Rap feels more like a proof of concept more than an actual album, though. I can see why everyone is climbing over themselves to write this guy up.


~~~~~~~~~
"This is the streets, and I am the trap." © Jay Bilas
"I don't read pages of rap lyrics, I listen to rap music." © Bombastic
http://www.popmatters.com/pm/archive/contributor/517
Hip Hop Handbook: http://tinyurl.com/ll4kzz

Just to see how he grew from 10 Days til this is crazy

Although I've never really been able to get into OD, but love everything else Kendrick has done.

I don't think Chance's ceiling is probably quite as high as Kendrick's, but his first two mixtapes barely have a dud on them so far IMO. If he gets a little more polish, he can definitely do big things.

I think the main comparison to Kendrick is that he can do anything he wants with rap. He can make huge bangers, be really introspective, make girl songs, etc., and none come off as corny or forced.

And I say that as a Kendrick fan. People talk about how Kendrick
can't do commercial songs. I don't ever see Chance having that
problem... plus Chance just seems like a much more fun guy than
Kendrick.

Have their heads up their asses or pigeon-holed him into their own rapper's rapper box

Swimming Pools and Poetic Justice are all over radio in Los Angeles. Those are not necessarily commericial or pop songs, but people only say that with todays ears. Before 2004 any type/genre a song could become pop if it gained traction, that's damn near impossible in today's climate and Kendrick was one of the few that broke that mold AND SOLD.

Also Kendrick is the closing verse one of the year's most popular song "Fucn Problems". Outside the lesson (where niggaz hate clubs and women), talkin bout Kendrick sounds "off" on it, he sounds just fine.

Chance is literally emerging from Drake and Kendrick's lanes, so to say that more interesting talk is just personal preference

I gotta say for the first time in a while I'm actually kind of excited to get in my car to go to work without a working CD deck, because I'm almost guaranteed to hear one or two decent to very good songs on my drive right now. Haven't felt that way about radio in a minute.


clarify: in the midwest...I'm sure L.A. always has SOME kind of option even without KDAY.

~~~~~~~~~
"This is the streets, and I am the trap." © Jay Bilas
"I don't read pages of rap lyrics, I listen to rap music." © Bombastic
http://www.popmatters.com/pm/archive/contributor/517
Hip Hop Handbook: http://tinyurl.com/ll4kzz

But let the records also show that I didn't say "interesting".
I said "entertaining". He sounds (and looks) like he's having
a ton of fun doing this. Even his introspective shit has a bit
of a pep to it.
Also though,I don't see alotta people saying the "commercial" thing about
Chance, because his melodies are catchier and he delivers his rhymes in
a way that's more digestable to the average listener.
I don't see him as a product of Drake and Kendrick either. I see
him having a truckload of oldschool influence and trap rapper
melody sensibilities. He literally sounds like a cat who could have
rhymed with Souls Of Mischief to me... just happens to be born
in the year they had their biggest hit, lol.

.

.

And MJJ had an album before thriller.

We shouldn't expect our artist to be fully formed great artist on their first outings.

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

Okayplayer's 13 Best Songs of 2013
http://www.youtube.com/playlist?list=PL1oqjQg5iG0kixstemTCUgT0b8cSMNfN-

I have been listening to it everyday for the whole week now. Sounds like a complete album if you ask me. I hope he can top it with his first official release. It's a wonderful thing to have so many 17, 19 year old kids in 2013 still doing rap on their own terms and at such a high, elite and artistic level and not forgetting to have fun. It looks like rap is far from dying. It may go on one more 10 year run, or more.

Come Barack ! (Hawuzwe !)
Nyamazana ! (Hawuzwe !)
Come Barack ! (Hawuzwe !)
Obama ! (Hawuzwe !)

true words yuh know ©

hipsters are the absolute worst

it's dope though. all these media outlets throwing in their .02 cosign is hilarious to me.

>it's dope though. all these media outlets throwing in their
>.02 cosign is hilarious to me.

i feel you, especially since 10 day got slept on by & large.

~~~riedy~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

And it definitely is.

I never heard of this guy before last week and now he's a household name

haven't listened thoroughly, but this kid has skills and the beats are pretty fire.

http://yourstru.ly/videos/2013/05/06/chance-the-rapper-and-nosaj-thing-songs-from-scratch/

thanks for putting me up on him, b/t this and the chi post

"good ass intro" - peter cottontale, stefan ponce & cam for j.u.s.t.i.c.e league
"pusha man" - ceej for two9, nosaj thing
"coca butter kisses" - cam for j.u.s.t.i.c.e league & stefan ponce
"juice" - nate fox
"lost" - nate fox
"everybody's something" - dj ozone
"interlude (that's love)" - ludwig goransson
"my favorite song" - nate fox
"nana" - brandun deshay
"smoke again" - blended babies
"acid rain" - jake one
"chain smoker" - nate fox
"everything's good" - cam for j.u.s.t.i.c.e league

http://farm8.staticflickr.com/7406/8714992465_fd93b273ec_z.jpg

~~~riedy~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

he held it down.
i think chance is good but it's really the full package of beats and rhymes that make this such a compelling project,

>"good ass intro" - peter cottontale, stefan ponce & cam for
>j.u.s.t.i.c.e league
>"pusha man" - ceej for two9, nosaj thing
>"coca butter kisses" - cam for j.u.s.t.i.c.e league & stefan
>ponce
>"juice" - nate fox
>"lost" - nate fox
>"everybody's something" - dj ozone
>"interlude (that's love)" - ludwig goransson
>"my favorite song" - nate fox
>"nana" - brandun deshay
>"smoke again" - blended babies
>"acid rain" - jake one
>"chain smoker" - nate fox
>"everything's good" - cam for j.u.s.t.i.c.e league
>
>http://farm8.staticflickr.com/7406/8714992465_fd93b273ec_z.jpg
>
>~~~riedy~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

he should be getting just as much shine as Chance is off this

>"pusha man" - ceej for two9, nosaj thing

>~~~riedy~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

and not want to stick railroad nails in their temples?
i actually think hes a decent rapper and he's got a great ear for beats
but that fucking voice.
i can't get past it.
and i dont care to.

~~~riedy~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

"Paranoia" is my shit.

"Trapped in the middle of the map, with a little bitty rock, and a little bit of rap. That with a literary knack and a little shitty Mac and like literally jack, aaah!!! " - Chance The Rapper

______________________________________________________________
http://twitter.com/Gedi

"This is your world. Shape it or someone else will." - Gary Lew

http://www.mtv.com/news/articles/1707326/chance-the-rapper-acid-rap-mixtape.jhtml
(video on the link)

May 14 2013 4:36 PM EDT 2,051
Chance The Rapper Remembers 'Talking White' And Fighting Black On Acid Rap
'I used to tell girls that I was mixed, which is a bold-faced lie," the Chicago rapper tells Mixtape Daily of his verse on "Everybody's Something."
By Nadeska Alexis (@neweryork)

Representing: Southside of Chicago

Mixtape: Acid Rap

Real Spit: Chance the Rapper laced his 13-track mixtape Acid Rap with nostalgic samples that evoke a sense of familiarity despite the freshness of the songs. But over those melodic beats, he also provides listeners with the opportunity to question themselves and popular discourse.

"I'm not really worried about co-signs or being accepted by the hip-hop community at this point," Chance tells MTV News. "My come-out record, 10 Day, was the thing people were supposed to hear and figure out 'he's good' or 'he's not good. Acid Rap is the comeback tape and it asks way bigger and better questions than 'Is he good at rapping?' It's an important project that people will listen to, gain insight on the world from, and ask themselves questions that need to be asked."


One of those thoughtful takeaways would be the extent to which racial stigmas still affect the interaction of youth in minority neighborhoods. It's a topic that Chancelor Bennett broaches on "Everybody's Something," a track which was inspired by his own experience growing up on the Southside of Chicago, and amplified by Lil Durk's musings about chopping off his dreads on the mixtape Life Ain't No Joke.

"Everybody's Something": "I used to tell h--s I was dark light or off white, but I'll fight if a n---a said that I talk white/ And both my parents was black but they saw it fit that I talk right/ With my drawers hid but my hard head stayed in the clouds like a lost kite."

Lyrical breakdown: "There's just this stigma of self-hatred the black community. People wanna say that they're part Native American or mixed, or anything other than black. We're raised to believe that there's something better about not being fully black, something eccentric about it. I'm saying I used to tell girls that I was mixed, which is a bold-faced lie! I'm light skinned and I used to lean on that because that's something a lot of black people pride themselves on and it's weird. I would even go lengths to lie and say that I'm mixed or biracial when in another light, I'd fight if a n----a said that I talked white.

"The idea of 'talking white,' a lot of people grew up around that, just the idea that if you speak with proper diction and come off as educated that it's not black and that it's actually anti-black and should be considered only something that white people would do. It's just a weird juxtaposition for someone who, growing up, was so into being of a higher class and aligning with light skinned or bi-racial people, but couldn't deal with the accusation of 'talking white.' I was knocking ni---s out quickly for that sh--.

Additional Joints to check for:
"Good Ass Intro" With its heavy acid jazz, gospel and Chicago juke music influence, "Good Ass Intro" is what Chance calls the most important track on the album. "It's the perfect thesis for who I am as an artist. The sample is actually a vocal sample from John Legend, buried really deep in there, from Kanye West's "Good Intro" on his Freshmen Adjustment 2 mixtape. I was listening to that a lot when I was finishing the tape and it's hard not to take something from Kanye because he's just a huge influence for anybody who makes music post 2004. Even in production the track mirrors Kanye's process; there's four producers including me, three trumpets, six vocalists — it's just a really big track."

.

one of the most accessible mixtapes out that stays true to the essence of what Chicago is....to be coming from a youngster makes it even more impressive.

D

>one of the most accessible mixtapes out that stays true to
>the essence of what Chicago is....to be coming from a
>youngster makes it even more impressive.
>
>D

^^^^ gets it

~~~riedy~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

a couple of familiar loops got freaked/flipped but I don't know if I'll be playing this in a year.

Maybe I did too many psychedelics in my youth to be impressed by this albums nerd-rap-name-dropping of them.

I'd rather an album feel like tripping than be talking about it.

Dare Iz A Dark Side was a far better acid-rap album twenty years ago without most of its listeners even realizing.

It's fitting that Childish Gambino is on this, because dude gives me a bit of that same vibe (altho he's definitely less annoying).

Dude is talented for sure, and a lot of this is very enjoyable...

but I agree it comes across very gimmicky. For instance those distracting a$$ adlib noises he makes through out the whole thing are grating and sound like

hmmmm


a Chappelle skit?



And even the great moments don't have that much replay value.


Not saying its a bad tape, but smh at people saying outlandish sh!t like >>>>>> Kendrick

Guess the new thing to do is try and knock Kendrick off his spot? Sometimes for no reason other than to simply do it?


Its like those same folks who tried to convince others and themselves that Ab Soul >>>> Kendrick....

Some type of wierd backlash from his acclaim I guess?

Resounding NO on both.

>
>Dude is talented for sure, and a lot of this is very
>enjoyable...
>
>but I agree it comes across very gimmicky. For instance those
>distracting a$$ adlib noises he makes through out the whole
>thing are grating and sound like
>
>hmmmm
>
>
>a Chappelle skit?
>
>
>
>And even the great moments don't have that much replay value.
>
>
>Not saying its a bad tape, but smh at people saying outlandish
>sh!t like >>>>>> Kendrick
>
>Guess the new thing to do is try and knock Kendrick off his
>spot? Sometimes for no reason other than to simply do it?
>
>
>Its like those same folks who tried to convince others and
>themselves that Ab Soul >>>> Kendrick....
>
>Some type of wierd backlash from his acclaim I guess?
>
>Resounding NO on both.

exactly.

>Its like those same folks who tried to convince others and
>themselves that Ab Soul >>>> Kendrick....
>

I really do like Ab-Soul better than Kendrick and I found them both at the same time

Jhene Aiko too.

~~~riedy~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

The Dally Auston and Brian Fresco tapes are pretty good.

yeah i'm pretty sure vic mensa's new mixtape is
gonna put them over the top once that drops.

and this compliation by fakeshoredrive is a good
jump off point for any fan, new or old....

http://www.fakeshoredrive.com/2013/05/mixtape-save-money-the-best-of-save-money.html/

~~~riedy~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

and RTJ in third.

that album is half baked as hell.

~~~riedy~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

I like this. I'm not losing my mind over it like some others but I has grown on me significantly since I first listened to it. Why is some of the best hip hop free. Do indie rock bands put out free mixtapes before they get big 'cuz if so someone needs to hip me to those blogs.

http://www.youtube.com/watch?v=Gctf0n8b3F4

but this kid has that IT factor


knows exactly what beats he sounds good on (and maybe more importantly, what beats he does not)



definitely going back and checking out his earlier shit now

First listen I thought it was dope, but by the third listen I was annoyed. He is good overall he just need to drop that corny nah nah nah all over the songs.

very sing songy (at least to me)

its youthful and irreverent and kinda mocks the older head serious attitude

i went form its cool, his voice kinda annoying though

to his voice don't bother me no more, and its very good

to this is great... (still my AOTY, by the way)

SMDH. i been having this schizo back and forth with all kinds of artist and albums as of late. i wonder if it has to do with my age and the glut of music on the internet

I remember hearing Juice months before Acid Rap came out, thinking 'this dude genuinely sounds sort of down syndrome, but I don't hate it', not really wanting to give it another try and forgot who he was by the time Acid Rap dropped. By my third listen of Acid Rap it was AOTY.

Dude is spittin... Lost, Cocoa Butter Kisses and Good Ass Intro are my shit!

If I were to make a best of 2013 list at this point, I'd put Kanye and Earl above this, but I play this most, pretty much from start to finish, so perhaps I need to rethink that.

is he gonna pull an andre and make me listen to some bullshit because his verse is so damn dope? hopefully it gets chance some more shine tho

but i want to hear the verse...damn it...

But seeing this means he's getting mainstream status...

to think 10 Days came out last year

Dude is gonna be huge....

The mixtape was good but he's gonna fall off now cuz of all the hype he got. I'm not saying his career is done but as far as the artist he was when he first came out compared to who he will be now is way different. Same with Vic Mensa

>The mixtape was good but he's gonna fall off now cuz of all
>the hype he got. I'm not saying his career is done but as far
>as the artist he was when he first came out compared to who he
>will be now is way different. Same with Vic Mensa

OH NO! You mean, he won't be the same artist forever???


except for the fact he can still rap and make dope songs... and as long as he can do that, he'll be good...

esp vic mensa. dude is no where fucking near chance's popularity, not even with chance being his best friend.

How can his all this happen off this one album??!?!

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

If anything, his stock is bout to skyrocket. And this is still a top 5 album this year.

'cause there's no way this is the only dumb post.

I don't even like the mixtape but come on man, how the fuck has dude "fallen off" already?! smh....

he's one of the new rhymers to check for. he can spit and he picks good production to rhyme over

Really loving it. Sorry it took me so long to give it the attention it deserves.

**********
"Everyone has a plan until you punch them in the face. Then they don't have a plan anymore." (c) Mike Tyson

Okayplayer's 13 Best Songs of 2013
http://www.youtube.com/playlist?list=PL1oqjQg5iG0kixstemTCUgT0b8cSMNfN-