Having recently performed in his hometown in a show that he appeared to be extremely excited about, J. Cole let loose of yet another brand new track, with this one being centric around his then-pending homecoming.
Cole’s running mate Elite is on production duty here, serving up a driving, powerful beat that’s anchored by a speaker-rattling percussion, offering a real punch to accompany Cole’s raps, whilst the soft vocal samples used throughout provide a nice contrast to that percussion, and occasional bursts of guitar add a little depth to the production throughout. Cole comes through with a good set of raps, mixing together a laidback vibe with a focus and intensity in his lyricism that has a couple of good introspective moments. Another good one from Cole, and equally Elite deserves credit for his work on this.
Armed with a sample fresh out of the 60′s (David Ruffin’s The Double Cross, for those interested), J. Cole celebrates reaching 2 million Twitter followers by dropping off his first solo effort since the release of his debut album.
It’s an enjoyable one too, as the soulful nature of the sample adds the depth and personal touch that was either missing or poorly executed on the aforementioned album, whilst Cole’s raps span a range of topics that include some interesting tidbits. It’s clear Cole’s having fun here, and his relaxed, easygoing demeanour is allowed to shine throughout the track, making it a very comfortable listen.
A few days late on this one, apologies! But on the upside: if you haven’t heard this yet then you can rectify that by grabbing it now.
Big look for the UK here with Tinie recruiting J. Cole for a track that will feature on his upcoming mixtape, Happy Birthday. Also enlisting one of my favourite emcees about in Wretch 32, he instantly makes this a track that will feature in my rotation for the foreseeable future. Download link below.
A track that heavily featured in my various playlists when it first dropped, on the day of the release of his album, Wale brings us visuals for his rather addictive collabo with J. Cole.
As Ajay said way back when, the beat on this is superbly done, and complimented by a very infectious hook by Cole. The verses from both parties aren’t particularly great in my opinion, but they don’t need to be for this mainstream-friendly track. The video reflects the not so serious vibe of the track, showing much enjoyment for all. Oddly, this doesn’t feature on Wale’s Ambition album, but may be found as a bonus track on some version of the album.
According to the intro, this video was actually shot in 2008 (of course, meaning the song itself is from around that time), and it’s certainly held up well as it makes its way to the public 3 years later.
Whilst the hook is a little too light for me (leave those sort of admissions to ‘the kitten whisperer’ Drake), the verses boast some great storytelling and credit is due for Cole’s ability to effectively switch ‘characters’ from verse-to-verse, in a manner many will compare to Eminem’s incredible Stan (though of course, it’s nowhere near the level of that all-time great).
The video enhances the lyrical tale effectively, with the Antoinette Lenae putting in a very impressive performance that adds plenty of powerful emotion to Cole’s 2nd verse, whilst the cliffhanger of an ending makes for a thought-provoking finishing touch. Definitely worth a watch, and the track can be grabbed on Cole’s debut album.
New visuals from Cole’s debut album (released yesterday), and a set that may reel in fans previously put off by his ‘lightweight’ single, Work Out.
Lyrically, Cole provides some very enjoyable bittersweet raps, telling the tale of a ‘Daddy’s Little Girl‘ gone wrong, spending her time in the wrong places and living a life of misdemeanour. This is the sort of lyricism from J. Cole that most hip-hop fans were parading 2 years ago, and I’m sure it’ll encourage those fans to head out and grab that album. The production has atmosphere tied with an electronic-style sample, representing both the gravity of Cole’s lyrics and adding a little accompanying energy.
The video is a great portrayal of the lyrics and enhances that story fantastically, displaying the dichotomy between the ballet steps of an innocent child and the sleaze of a somewhat less angelic stripper. A superb device employed is the interspersion of scenes with the stripper ballet dancing, which initially appear to be possibly something she’s doing in her spare time to recapture her youth, but instead ends as an ‘alternate reality’, showing the path she may have ended up on. Superb audio-visual, be sure to grab the album on iTunes now.
Following on from Mr. Nice Watch, J. Cole delivers us some visuals for his collabo with Trey Songz. The J. Cole promotion bus is in full effect.
Admittedly this isn’t a song that found many plays in my iTunes, that’s not to say I dislike the track, it’s a fairly enjoyable and fun song, it just doesn’t have me yearning to replay it. The video comes off on the same vibe, in what I presume to be Barbados (because of the Rihanna cameo!) J. Cole and Trey Songz seem to be, and probably are, having a lot of fun. Anyone else think Trey Songz doesn’t sound like himself on the hook for this?
Undoubtedly the most anticipated track from Cole’s upcoming debut album (released 27th September), the much-hyped Jay-Z feature finally lands as Cole promised earlier today.
The title suggests this track is rather jovial, but the opening will immediately realign that view: a booming, bassy production bursts into life from the off, boasting electronic and dub influences that immediately inject an intensity and urgency into the track. A beat that would have slotted in nicely on Watch The Throne, Cole takes the production on well, borrowing fom Kanye West’s style in portions (particularly the arrogant closing lines on the hook), alongside some quickfire flows of his own. Jay grabs the last verse with a passable performance, and whilst some of his wordplay on the watch theme is enjoyable, his rhyming is a little lazy in places. A decent track, though one where the production dominates to such an extent that there isn’t a standout vocal moment.
Normally, I don’t go for these ‘personality hosted’ mixtapes as they just tend to be a mish-mash of readily-available tracks. However, the ever-entertaining Peter Rosenberg (one of the few prominent lovers of both hip-hop and wrestling!) has really pulled off something special here, with a 23-track project full of original material from the likes of Raekwon, Odd Future, Kendrick Lamar, Asher Roth, Childish Gambino and many more. There’s even a Macho Man Randy Savage interlude!
Needless to say, this looks like a must-have for all hip-hop fans, and alongside the glut of rap gargantuans, there are a couple of ‘middle-ground’ names on here I’ve been looking to get into, whilst I’m sure we’ll also be introduced to a few new and upcoming stars. To quote Peter, ‘With so much BS out there — sometimes it’s hard to find what’s really poppin. Well I did the work for you. Enjoy.’
Neverland: ‘produced by Chase N. Cashe and J. Cole. Some shit we did out in LA! Not on the album, but something you should have. Ride to it. Shout to my n***a Chase!‘. A hard-hitting production, this track blends a chunky percussion with uplifting synths for a hypnotic beat, whilst Cole comes through with some solid raps. Similar to Bring Em In production-wise, but with a more introspective lyrical subject.
Heavy: ‘Did a lot of records in LA some months back. This is another one. Not album material, but its HEAVY. Produced by J. Cole‘. A driven, intense production that’ll really get your head nodding, and Cole comes through with semi-aggressive raps that capitalise on the slow energy of the production nicely with a mixture of deliveries and accessible lyrical work, as he once again treads that mainstream and underground border.
Foregoing the expected route of releasing a slew of free music, Cole has continued his Any Given Sunday series in recent weeks with the equally-important release of both the official artwork and tracklist for his album.
The big question prior to the tracklist release was whether he’d manage to secure the Jay-Z feature he was so desperate for, and it seems as though he was successful in doing that. It’s not too heavy on the features otherwise, with the previously-released collaborations with Trey Songz and Drake making the cut, whilst there’s one more feature that’s a little more unexpected: I’ll let you click below and see that one for yourself! It’s also interesting to see Work Out relegated to a bonus track, indicative of its relatively slow public uptake.
Cole is said to have produced the album almost entirely too, which makes for a brave yet slightly disappointing move, as frankly hearing him on a few other productions would have been nice (Cole on a RZA beat would be particularly tasty!). Click below for the tracklist. → Continue Reading J. Cole-Cole World: The Sideline Story Tracklist and Artwork
The official video to J. Cole’s first single from his upcoming début album, and we’re served up with visuals as tame as the song itself. Tht’s not meant as a scathing criticism as I actually enjoyed this track a lot when it dropped, with its great use of sample mixed with effortless raps that suit the production making it an enjoyable listen. Crucially, you have to applaud his versatility, even if I did find his flow a little off/annoying (know what I meeeeeeeeeeeeeean?).
A very mainstream track that should hopefully cast J. Cole into the eyes of the demographics who actually buy albums. You can get the audio for this from here.
For the record, these are not mixtapes, not EP’s either. I wake up on Sunday’s and I decide what songs I want to let out or rerelease for yall. You’ve been so patient for 2 YEARS! I think you deserve some insight and unreleased music.
More new music from Cole, continuing his series with a very enjoyable 3-track drop, and I don’t seem to have any of these in my library either, which makes for even more enjoyment. Three very different trackstoo: Cole delivers some smooth bars on the soulful Be production from the Common album of the same name, gets confident and braggadocios on the head-nodder Bring Em In, and finally unravels his more introspective side on Roll Call. All very enjoyable tracks, and you can read brief commentaries from Cole himself on each of them here.
Running a little late than usual this week, but it’s here and that’s what counts. An interesting lineup once again this week, with the old-school, the current game, and newcomers all represented in this diverse edition.
With his debut album Cole World: The Sideline Story set for release on 27th September, Cole kicks off the hype wagon with this 5-track pack. He recently announced his intention to follow the G.O.O.D. Fridays/Hip-Hop Weekly blueprint by releasing tracks weekly in the build up to the aforementioned album, and he’s kicked off here with a nice blend of old and new music to satisfy his growing fanbase.
How High, Unabomber (one of my favourites J. Cole tracks) and Knock on Wood will be familiar to longtime fans, and will undoubtedly make for good listening to those a little newer to the party. The two newer tracks are also very enjoyable; Like A Star has a buttery, retro vibe and a little more positivity from Cole that makes for refreshing summer listening, whilst Pity boasts a great soul-sampling production and a more introspective quality, alongside solid features from Voli and Cole’s running mate Omen. Click here to read his brief thoughts on each track and click below for the EP.
Having released artwork, snippets, behind-the-scenes pictures and such, Wale’s latest collaboration with J. Cole comes to light, and is set to be the first single from his sophomore album Ambition.
Very good production served up by Cole, with a hugely infectious melody blending well with hard-hitting percussion work from the off, setting the track up with no hesitation. Cole also opens with a very catchy hook, using his addictive sing-rapping hybrid delivery to great effect, and also contributes a solid, if unspectacular verse. Wale does a decent job with his verses, taking on the beat with a stop-start flow that suits the production well. Nothing mindblowing lyrically, but a feelgood track that has some potential to break into mainstream circles. On iTunes next week.
The first official single from Cole’s debut album (not sure where that leaves Who Dat?), as released by the man himself last night on Twitter. He’s sampled a short section of Kanye West’s Workout Plan on the production, though this track works in a considerably different direction to the jovial Kanye effort.
The sample ties nicely with the otherwise mellow production to give this track a slightly old-school feel (partly because of the Roger Troutman-esque sample), with Cole’s harmonic style playing upon that with a feelgood vibe in his content. The raps aren’t spectacular and he’s performed far better, but they suit the vibe of the track and are relatively mainstream friendly without being excessively dumbed down. Intricacy wouldn’t really suit this production, and once again Cole adapts his style perfectly to the beat he chooses. Lying in that hip-hop middle ground Cole generally treads, it’s a solid first single that should keep everyone fairly happy.
There’s no doubt about it, Cole is one of the nicest skirting around the outskirts of the mainstream right now, but damn do people over hype. With that said though, this is a top effort rumoured to be from Cole’s long-awaited Cole World. I really enjoyed the other ‘Simba’ joints from Cole (way back in ’09) and this follows in the same footsteps with a light and wispy instrumental (co-produced by Cole himself). Lyrically Cole comes through with those inspirational, poetic raps and switches things up towards the end to great effect. A good effort with definite replay value, but not as powerful as the original. Let’s wait and see where it ends up.
Let me off with the lateness on this one, I’ve been enjoying it so much I assumed I’d posted it!
SYOR are signed to Cole’s Dreamville imprint, and bring that motivational, passionate edge that can be found frequently in Cole’s catalogue. Musically, they bring it in a more alternative manner, blending together a pop-rock sensibility with hip-hop fundamentals to deliver a diverse effort that introduces them in superb fashion. The production brings an atmospheric vibe that really plays up to the internal monologue nature of the lyrics, whilst a sharp guitar riff adds that motivational edge for the hook. Solid feature from Cole too for that co-sign, though this is certainly strong enough material without it. Lots of potential here, and you can grab both this track and the mixtape it originated from below.
Before I get accused of misleading you lemmings, know this: J. Cole produced the track, but does not vocally feature. He’s evidently a dab hand behind the boards too, with a slightly unsettling, vintage-inspired production that brings the best out of Kendrick Lamar for the first single from his upcoming album.
The stuttered melodies make for a very distinctive and memorable sound, whilst the slow and driving percussion rolls along nicely with Kendrick’s flows, which are somewhat reminiscent of J. Cole’s own direct, slightly aggressive style. Lyrically, Lamar comes through with a decent set of rhymes that might not wow the real lyric heads, but should satisfy most hip-hop fans with their diversity. On iTunes now.
Sometimes, despite publicly and privately backing a certain artist, you still can’t quite explain the intangible grip they have on you. For some reason, after listening to this track it clicked just why Cole is so highly regarded by both myself and many others: he’s believable.
Cole does an absolutely superb job of telling the story of a murderer’s innermost thoughts here, whilst also throwing in some third-person perspective: It’s undoubtedly one of Cole’s finest lyrical efforts for me, as he remains compelling throughout. Production-wise, the remorseful and often uneasy production reflects the lyricism admirably, and at times feels like the sort of beat Pac would have been perfect for. One of Cole’s best all-rounders in my book.
J. Cole goes in on an old Beanie Sigel track, which was a classic Kanye West soul-sampled production. No chorus, just J. Cole rapping along for the whole song to the high standard we’ve come to expect from him.
One for the insatiable J. Cole fans out there; download below.
Here’s the new mixtape by Fashawn, as promised yesterday. Given the strength of yesterday’s track that I posted and the stuff I’ve heard Fashawn come out with in recent times, I fully expect this mixtape to be incredibly good.
Definitely one of the best from the underground hip hop circuit about and with the likes of J. Cole, Common, John Legend, GLC and Gilbere Forte all on the list of features on this mixtape, it shouldn’t disappoint.
Click here to grab it and click below to see the tracklist.
Every time I hear new Fashawn material I never fail to be impressed, in fact I’d say he’s incredibly underrated. J. Cole obviously feels the same way, with this track being the first of 3 collaborations (2 that J. Cole spits on and 3 tracks he produces in total) between the two of them on this new mixtape of Fashawn’s, Higher Learning 2. Fashawn, much like J. Cole, is often likened to the legend that is Nas.
The track, which is wonderfully produced by J. Cole himself, is a real nice slice of hip hop. However it is way too short for my liking; I’m hoping it’ll be longer on the mixtape itself (which we’ll drop on OTU too).
The mixtape, which is out tomorrow, has some pretty awesome artwork! A black Bart Simpson…what the hell!?
Very simple yet enjoyable video for the first collaboration between hip-hop’s most popular upcoming rappers (though I’m not sure Drake can be called ‘upcoming’ any more).
Filmed on the European leg of their recent joint tour, the video is comprised of both live stage footage, and a little behind-the-scenes ‘documentary’ style footage, primarily of J. Cole and his girlfriend. It’s actually very refreshing to see an artist include his significant other like this, as she certainly features heavily throughout, and with most rappers keen to downplay their relationship status in favour of playing up to the ‘groupies’, I’ve certainly gained even more respect for Cole here. It helps that he has good taste too!
Worth a watch for the intimate, close-quarters feel of the video. Whilst it doesn’t necessarily add a ‘story’ to the audio, the alternative approach taken works just as well. Audio can be found both on the Friday Night Lights mixtape, and here in its own post.
Garrett has been very hit-and-miss in the last year or two, but definitely got it right with this track. It’s definitely his strongest effort of the aforementioned period, and stands up as one of the better R&B tracks from last year. Of the two versions recorded (the other being with Drake), the J. Cole version has been picked for the official single/video treatment, which I assume is related to them now being labelmates over on Roc Nation.
The hook and Cole’s verses are the highlights of this track, with the track built around Garrett’s catchy, emotional hook. Cole really justifies being picked over Drake here, as he tackles the relationship/love aspect with the same sharp lyricism he brings to his usual content. Video is surprisingly decent too, unravelling a mini-story throughout that add an extra layer to the track, making it a nice all-round experience. Worth a watch and definitely worth a listen.
I’m still not bored of the original to this, so I’m glad we’ve got a remix. Good look for Chip too, enlisting one of the brightest prospects in US hip hop in J. Cole to add a verse to an already great track.
Premièred on Westwood’s show recently; you can listen to it by checking the video to the left.
The original has finally been made available on iTunes, so go buy it now for just 99p by clicking here, (the one we posted on the site wasn’t the finished version and is missing the Chris Brown verse).
No recap this week thanks to a temperamental hard drive, but R&B Fridays actually makes it out on a Friday for the second consecutive week, which is a pretty big victory.
Lots of remixes and rappers popping up this week, with some huge names coming through with some very unexpected pop and R&B remixes. More than enough original material too though, making this a very diverse episode that’ll satisfy the vast majority of you grubby little folk.
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