After delivering the brilliant song about how we deal with pain in the community, Rapsody drops off a video for the Nottz produced single.
Rapsody delivers another round of lyrical excellence with “The Pain.” Over the Nottz produced song, Rapsody rhymes about the deep seeded issues that plague individuals and forces them to act out.
JAMLA emcee GQ is joined by fellow camp member Rapsody for the 9th Wonder and Khrysis produced “Guns Hang High.”
Rapsody drops this inspirational video for young Black women titled “Crown.”
If you noticed that Rapsody was on a wicked tear with her last few releases, it was all for a reason. The emcee was prepping you for her out of the blue EP Crown. Featuring the likes of Ab Soul, 9th Wonder, Anderson .Paak, Raphael Saadiq, Nottz and more, Crown is free for your consumption.
For those that are down on the future of this country, Rapsody provides the inspiration with “Fire.”
Rapsody and Ab Soul absolutely terrorizes this 9th Wonder and Khrysis production on “2 AM.” It’s the Jamla emcee’s second verse that will raise eyebrows. Just nasty.
Rapsody hops on the remix to Torii Wolf and DJ Premier’s epic “Shadows Crawl” and delivers yet another stellar verse from the JAMLA queen.
“I felt Rapsody fit the picture perfectly” DJ Premier relayed to Pigeons & Planes. “Of course to make it complete, I threw in some scratches in the intro for the underground DJ’s so we always have that representation.” In her comments to Pigeons & Planes, Torii was very eager to hear where Rapsody would take the remix “I was very excited to work with Rapsody and to hear what she could do with this and I couldn’t be happier with how it came out. Rapsody adds an entirely new vibe to the record and fully emulated the concept of the song in her own unique way and voice. Her flow tells a story so inline with what I wrote about. I’m honored to be working with such incredible people and artists.”
Rapsody obviously enjoyed playing with the concept of the track, as she stated “I had fun working on this. I thought the concept was creative, so I just wanted to expand on the idea of having these inner secrets of loving someone else and that coming out in the middle of the night; talking in your sleep—laying next to your lover. I love the song and really enjoyed working with Torii, her sound is so unique. Her and Preemo sound so dope together. I was happy to be a part of it all.”
Fresh off of Talib Kweli and 9th Wonder’s Indie 500 project comes the video that features Rapsody titled “Life Ahead Of Me.” Kweli and Rapsody deliver stellar bars on this joint.
With the Grammys just a few days away, The Academy has decided to release a series of Oral History pieces for each nominee for “Album of the Year.” For Kendrick Lamar’s highly touted To Pimp A Butterfly, The Grammys rounded up the likes of Rapsody, Sounwave, MixedByAli, Terrace Martin, Thundercat and, of course, Kendrick Lamar to explain what went into the creation of the album.
On “King Kunta”…
Sounwave: When we first did “King Kunta,” the beat was the jazziest thing ever with pretty flutes. Kendrick said he liked it but to “make it nasty.” He referenced a DJ Quik record with Mausberg [“Get Nekkid”] and he told me what to do with it. I added different drums to it, simplified it, got Thundercat on the bass, and it was a wrap.
Thundercat: That strong-a** rhythm with banging drums and bass was created by me and Sounwave watching “Fist Of The North Star” while eating Yoshinoya. It’s funny because a lot of this album was created eating Yoshinoya and watching cartoons. It was so funky and so black.
Terrace Martin (co-producer): If you dig deeper you hear the lineage of James Brown, Jackie Wilson, Mahalia Jackson, the sounds of Africa, and our people when they started over here. I hear something different every time. I heard Cuban elements in it the other day.
On “Wesley’s Theory”…
Lamar: I was on tour with Kanye [West] and I had Flying Lotus with me because I wanted to work on the bus studio. He would make beats and it was one particular beat that he forgot to play. He skipped it but I heard about three seconds of it and I asked him, “What is that?” He said, “You don’t know nothing about that. That’s real funk. … You’re not going to rap on that.” It was like a dare.
Thundercat (co-producer): [“Wesley’s Theory”] started with Flying Lotus and I sitting on the couch in front of the computer analyzing George Clinton. He became the fuel for creating. I was really blown away that Kendrick was so into that song.
Sounwave: That song is the album cover.
Lamar: I had to find George Clinton in the woods, man. He was somewhere in the South and I had to fly out to him. We got in the studio and just clicked. Rocking with him took my craft to another level and that pushed me to make more records like that for the album.
Read the rest here.