#Ghostface killah the lost tapes review windows

HeРІР‚в„ўs also got quite an ear for production, which has led him to collaborate with big names like composer Adrian Younge and contemporary jazz greats BADBADNOTGOOD for whole albums. Rightfully so his knack for storytelling and street-tough rhymes are the envy of many aspiring lyricists and the cream of the crop for fans. Ghostface Killah, Wu-Tang Clan member and distinguished solo rapper, is on a lot of peopleРІР‚в„ўs GOAT lists. Release date: Octo| X-Ray Records | Facebook | Twitter | Bandcamp (Pitchfork may earn a commission from purchases made through affiliate links on our site.The great Ghostface Killah indulges us with ironclad bars assisted by laser precise production from Big Ghost Ltd, but The Lost Tapes prove to be a small step back for storytelling and theming. Which is to say, if Ghost is to recover, heРІР‚в„ўll be doing it for himself. ThatРІР‚в„ўs not Billboard, of course, but it shows that the rapper still has a dedicated audience, to whom the quality of the new music might be less important than their ongoing loyalty. 2 on the iTunes charts upon its broad release, behind only Post Malone. The new album, which was released on the rapperРІР‚в„ўs website a week before it hit streaming platforms, shot to No. Not that Ghostface Killah needs inspiration or a Rushmore of beatmakers to sell records. And while the beats here are generally competent, they are beige imitations of the production granted to Ghostface over his career from some of the best producers in rap history. It doesnРІР‚в„ўt have half the energy or a quarter of the inspiration. The song, with a snarled hook by the Wu-Tang affiliate Solomon Childs, appears to be trying to approximate the menace of classic M.O.P. The sheer number and intensity of the gay slurs is indefensible, reaching its peak on РІР‚СљPistol Smoke,РІР‚Сњ a barely-there beat with no imagination leaving Ghost spewing vitriol at effeminate enemies. Were the album filled with songs like these, itРІР‚в„ўd be a minor revival, but Ghostface Killahs is marred by too many tracks that are either curdled by casual cruelty or just tired retreads. ItРІР‚в„ўs a great example of what late period Ghostface could be, a ringmaster bringing experience where youthful passion once raged.

#Ghostface killah the lost tapes review windows

The rapper plays tour guide through bus windows to a world as ugly as ever, one where red meat makes people crazy and the police are murdering black people. On РІР‚СљNew World,РІР‚Сњ the producer Danny Caiazzo isolates the bassline from Aaron NevilleРІР‚в„ўs РІР‚СљHerculesРІР‚Сњ (a favorite used to memorable effect by Action Bronson, Biz Markie, and UGK, among others) to give Ghost a vehicle. On Ghostface Killahs heРІР‚в„ўs emerged from the fugue in which heРІР‚в„ўs seemed lost for so much of this decade his energy is up. This is Ghost at his most undeniable, breathing new life into tired Wu-Tang tropes. Ghostface does him one better on the second verse of РІР‚СљFlex,РІР‚Сњ jumping from a loving description of Wallabees with an Air Max bubble to РІР‚СљFish tank so big even the babies can swim in/RockinРІР‚в„ў the toddler, four finger lacinРІР‚в„ў, ridiculous gems in РІР‚в„ўem/Benjamins stuck together like boxes of EntenmannРІР‚в„ўs.РІР‚Сњ РІР‚СљMe Denny & DarrylРІР‚Сњ features huge verses from Ghostface and a laid-back Method Man, who grants the song its title and whose verse is filled with vintage quotables. ItРІР‚в„ўs a brisk listen with plenty of strong tracks. But on his new album, Ghostface Killahs, he strains to recapture the old Wu vibe, with limited success.

Ghostface killah- the lost tapes review