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For lovers of R&B, from top-left to bottom-right: Anna Wise | The Feminine: Act II, Contour | Soft, Wade Brown | Coffee, Steffany Moneque | The Canvas EP 🔥🔥🔥

10 of Our Favorite Verses from Dreamville's Latest Signee, J.I.D (So Far)

So, you're a huge fan of J. Cole, and have recently heard about his label, Dreamville's latest acquisition in Atlanta's J.I.D, but you don't know where to start? We've got you covered. Since following J.I.D (pronounced as spelled, or "Jid") in 2011, not only has he been one of our favorite acts since the first song we heard him on, but we've followed his music very closely and are self-dubbed J.I.D scholars. In no particular order, here are 10 songs and verses from the ATLien that you simply must hear to get a full feel for what you're in for when he releases his Dreamville debut, "The Never Story", whose release date is still pending: OG Maco - Who Came to Party ft. J.I.D (Prod. Archibald Slim) https://soundcloud.com/og-maco/who-came-to-party-ft-j-i-d Probably our favorite pound for pound JID verse. At the time, it was the latest in the start of a string of collaborations for JID. This one hosted by OG Maco, who more than held his own in what we, here at Ev, may credit as the first song that we actually heard OG Maco really float and spit on--the track was featured on Maco's brilliantly titled, I Made This Shit Before You Guessed It. We probably wouldn't appreciate Maco as much as we do now if it weren't for this track that we initially peeped specifically to hear JID. Isn't music amazing? J.I.D - Never (Prod. Christo + Childish Major) https://soundcloud.com/jidsv/never-prod-by-christo-x-childish-major Never could arguably be credited with the distinction of being the song that really took J.I.D into that, "Ok, you GOTTA hear this guy" category. With a beautifully nasty cadence, and witty bars like, "I crept on the steps where the demon sleeps/and yell, belch to my Lord what He means to me. Oh, my God. Don't be mean to me", the first round of Never is a display of pure skill as the Zone 6 spitter rips apart the Christo-produced banger. Don't double back. You read that correct: the first round. The second round of Never features a production switch--this time brought to you by Childish Major--that is so opposite the spectrum of its predecessor, it's sure to catch your ear, and by the first bar--"What you call a chick that don't suck dick?/ Ya don't"--JID is sure to have your attention. There is some debate on which round of Never is the best, but most of us are just glad that these beats and these verses were put together for an epic clash of the titans that is one artist: J.I.D. J.I.D - Letters ft. 6lack, Marian Mereba, & PELL (Prod. ThaOfficials) https://soundcloud.com/jidsv/letters-feat-6lack-marian-mereba-pell Letters is one of JID's furthest strays from his usual lyrical onslaught to deliver an actual record with a concrete message. Assisted by 6lack (who has had maybe the biggest 2017 of any underground artist thus far), Marian Mereba (If you've never heard of her, don't you dare scroll past this name without making note), and the one-of-a-kind PELL, JID delivers a somber ode that is probably the darkest song he has put out to date, but also a possible glimpse into what the Little Dragon fanatic wants to do more of. It's an impressive song that more often than not, goes unmentioned by even the most solid JIDiens. J.I.D - M.O.M ft. Quinten Miller (Prod. Zeon) https://soundcloud.com/spillage-village-am/mom-feat-quentin-miller-prod-by-zeon A recent gem that may be the standout track on a super effort by the Atlanta collective, Spillage Village (Earthgang, J.I.D, Hollywood JB, Jordxn Bryant) that features The WDNGCRSHRS' Quinten Miller. M.O.M is JID's most recent collaboration, and neither he nor Miller let's us down for even a second. With a hook that ends, "Since she started f***ing me, her ass got fatter", it's not hard to notice JID's effortless control and balance of cadence, wit, lyrics, and melodies. MOM was probably a top 3 track from JID in 2016. You'd earn yourself a year long favorite song by simply clicking play on this one. J.I.D - Yellow Snow Freestyle (Prod. Christo) https://soundcloud.com/spillage-village-am/yellow-snow-freestyle-prod-by-christo Another standout track from Spillage Village's Bears Like This Too Much project, this one is more of a flex of lyrical muscle for the 27-year old MC. And, if you've listened to any other cuts on this list, you can understand that songs like Yellow Snow is where JID really thrives. A minimal hook that's catchy as it is different, and usually includes some humorous lyrics wrapped in air tight cadences. "My lil n*ggaz got lil n*ggaz, so I'm a grand n*gga" is one of our favorite JID bars, and he delivers it and many more like it over jazzy production that sounds like James Bond making a clean getaway as the building explodes behind him. One of the most unique songs on our list also may be the most funky JID record to date. Earthgang, 6lack, & J.I.D - BatMan Smells (Prod. Ryan Mellow) https://soundcloud.com/earthganghbt/earthgang-x-6lack-x-jid-batman-smells-prod-by-ryan-mellow BatMan Smells came out in December of 2014, and features JID, 6lack, and Earthgang. As referenced in its title, Batman Smells (a reference to the old Jingle Bells spoof) is a Christmas song. And, it is quite possibly our favorite Hip Hop Christmas song of the last 10 years. One could argue there haven't been enough Christmas themed songs in that time period to compare it to--which is fair--but that's also the beauty of Batman Smells. It's also very subtle in being a Christmas song. Hints include jingle bells at the beginning of the song, references to eggnog, and JID getting drunk with his aunties. If that's not Christmas, what is? J.I.D - UnderWear (Prod. Christo) https://soundcloud.com/jidsv/underwear "Melancholy cool. Matthew McConaughey!" One of the most fun, always relevant lines JID has dropped on wax that we have access to, UnderWear was J.I.D's 'Never' of 2015. Christo's production matched with JID's complex wordplay and playful-but-deadass-serious lyrics is an underrated combo that we fully expect to have more light shed on in the coming months. UnderWear finds J.I.D solo, aside from a couple of The Wolf of Wall Street quotes from the aforementioned McConaughey, and it may very well be his best track, depending on who you talk to. A lyrical trapeze act, UnderWear served its purpose by guaranteeing that the revolution was underwear. I mean, under way. J.I.D - Jiddeth https://vimeo.com/49116270 Jiddeth was the first song we heard JID solo on. And, it was like a tidal wave of vibes. The beat was slow, with a lone, long horn serving as its lead. It's a fairly simplistic beat that is undeniable southern. On Jiddeth, JID boasts about not doing this and not doing that, only to flip the script ten-fold and claim all of his vices, his Zone, and his own position as a flat out monster behind the mic. He does all of this with very little effort, and by the song's end, your head is bobbing, and you're leaning up in your chain, wondering, "How did ppl miss out on this guy for so long?" That's J.I.D. Earthgang - The First Scoop ft. J.I.D https://soundcloud.com/thepromogorilla/the-first-scoop Holding the honorable distinction of being the first record we heard JID on, The First Scoop is as impressive now as it was when it was released in 2012. JID dropped on our Twitter timeline via Earthgang (the song's main artists) like a bomb, and we immediately followed him after hearing his verse, which opens the record. Specifically, the bar that made our timeline lose its mind was a clever use of "Bye, Felicia" popularized by the movie Friday, and the expounding of why, according to JID, she had to go. The opening bars of JID's verse on The First Scoop are still relevant: "I hear a lot of n*ggaz talking about they ballin'/You ain't ballin' if the bill collectors callin'/talkin' about you missed a payment, couple installments/they finna cut your shit off, you should come by the office." Again, that's circa 2011. J.I.D - Bruuuh (Prod. Willie B) https://soundcloud.com/jidsv/bruuuh-prod-by-willie-b JID's most recent release that we were amped to check out, as it features production by The Ichiban Don himself, Willie B. TDE fans may recognize Willie B's name for producing gems such as Kendrick Lamar's Ignorance is Bliss, Poe Man's Dreams, & Rigamortis, and Ab-Soul's Showin' Love. We're huge TDE fans, and particularly were at the height of our fandom when all of those productions dropped. So, Willie has been on our favorite producers list for years. That being the case, when we saw him tweet JID about a finished track, we couldn't help but be fans of the song right then and there. Appropriately titled "Bruuuh" for its ridiculous rhyme patterns and instrumentation (and for the collaboration, itself), the listener can insert a good, "Bruuuh" anywhere in the entire song, and it would be fitting. Once again, JID sprints a marathon and absolutely levels a Willie B production. To lovers of credits, this was probably JID's most important collaboration yet, as it was a sort of cosign that--even if not necessarily needed--aided and continues to aid in what we believe will be a stratospheric take off for one of the most talented MC's we've ever met, covered, or heard. Straight up. If you call yourself a Hip Hop head like we do, here at Elevated Vistas, and haven't heard JID, we're encouraging you to do so--and, soon. Because as with JID's signing to Dreamville, his explosion onto the Hip Hop scene by way of your television and radio is only a matter of time. Congratulations to Dreamville for signing one hell of an artist. And, most importantly, congratulations to JID--the latest example of an elite rapper getting the exposure and rewards that he is justly due. And, the best part? It's only just begun. Congratulations, JID. We're still rooting for you. Honorable Mention: J.I.D - Liverpool ft. Earthgang, J.I.D -October/3 Storms ft. Earthgang J.I.D - Sia, J.I.D - Pro-Verbs, Earthgang x J.I.D - Ten Ten Follow J.I.D on Twitter: @jidsv Follow us on Twitter: @ElevatedVistas Written by Ida Wonyaluv

12 Alabama Hip Hop Acts That You Should Get to Know: Paper Nolassnaym

Over the course of the past 4 years, we have come across countless Alabama-based and Alabama-bred Hip Hop acts. From Mobile to Birmingham to Huntsville to Montgomery, we’ve seen a lot of Hip Hop acts from Alabama. Like most regions where modern Hip Hop is prevalent, the Heart of Dixie also suffers from an oversaturation of similar sound--mainly slight (if any) variations of Atlanta’s ‘Trap’. The sound that has long been a staple of the underground music scene has not so quietly crossed over into the mainstream. In fact, it wouldn’t be much of a stretch to say that it has become one of, if not the Hip Hop status quo, as it pertains to radio. Of course, with popularity comes imitation. By and large, the Trap sound is the most prevalent sound in all of Hip Hop. While that’s neither here nor there, the influence of Trap is, in fact, here--in Alabama. Its abundance makes it not only hard to to distinguish most artists from one another, but it has also created a seemingly never ending wave of repetitivity. This is increasingly frustrating in a state that still remains largely unspoken for in the grand scheme of Hip Hop. However, during this time, we have seen, heard, and met acts who did surprise us with flavor all their own, not just based on their lyrical talent, but on their undeniable uniqueness as songwriters, artists, and individuals. Here are 12:

Name: Paper Nolassnaym

Hometown: Birmingham, AL

We first heard about Paper Nolassnaym last year, by way of his project Nolassnaym Nights. This Birmingham spitter floats seemingly effortlessly over smooth production that might remind many of $pitta Andretti, himself (Curren$y). But, Paper’s different. His flow is delivered casually. As if listening to not just to a friend, but to an OG. There's a certain charm that comes wrapped in every Nolassnaym release. You could call it southern charm, but it's not that general. It's not cordial. It's not forced. And, in many ways, in a time where there isn't a lot of sincerity in Hip Hop, it's not that familiar; not in these 2010’s.

When I listen to a Paper Nolassnaym song, I feel like I’m supposed to be in a box Chevy, cruising around the city, with nowhere to go. That's not an insult. What I mean is just riding for the peace and ambiance. Paper Nolassnaym’s music has, for just over a year been a staple of my riding ambiance. And, while gas prices nowadays do tend to make me think twice about sacrificing even half a gallon in the name of cruisin’, catching up on my Nolassnaym has provided the incentive for me to do just that on more than one occasion. Paper brings a country charm that's often imitated, but never duplicated. Because, I mean, let's face it--southern and country aren’t quite the same. They have different appeal. Different lanes. Paper--who adopted the surname “Nolassnaym” because of constant incomprehension that there actually was no last name--is currently occupying both [lanes].

Ever heard the old saying, “Game is to be sold, not told”? If that's the case, we should all be thanking Paper Nolassnaym. Because--at least for now--all of his slick cadences, witty basketball references, and game soaked bars are available for free stream via Soundcloud. If that's not playa, I don't know what is.

Presenting Alabama’s own, Paper Nolassnaym:

#DailyUndy Selections:

Triple Double

Drippin’

Free Throw Fanga Roll ft. Kevin Carter

Visuals:

Sacriligious | https://youtu.be/vW1wX0gwIao

soundcloud.com/papernolassnaym

twitter.com/cantcopy_paper

Written & covered by Ida Wonyaluv for Elevated Vistas

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Don’t go anywhere yet! Get a step ahead of the pack by checking out our other 11 Alabama Hip Hop subjects before the blog/vlog drops!

Note: Subjects are ordered alphabetically. The order in which they appear on this list is not a reflection of the order they will be featured on this blog.

Cab

Cale Charles

Eugene Eugenius

Jacoby

Jasen Canfly

Jay Dot Rain

Keon Moon

Kikashii

Novacain Cooler

Sip Jackson

#Alabamahiphop #PaperNolassnaym #Nolassnaym #ElevatedVistas

New video on YouTube from last week's #GoodVibezOnTheLake event! Relive some of the highlights! Plenty more to come! -Vistas

#goodvibezonthelake

There Is Hip Hop in Alabama

Since around 2004, the south has had an undeniable stronghold on mainstream Hip Hop. Artists such as Outkast, UGK, Lil Wayne, T.I., Ludacris, T-Pain, Three 6 Mafia and countless others all experienced their prime in that 2004-2009 time frame. When you stop and think about how long that is, in an ever-changing genre, it’s pretty impressive. Maybe the most impressive run in the genre’s short history, when you consider that for much of that history before 2004, the South was an entire region that felt slighted and unspoken for.

Fast-forward to 2016, when the entire landscape of Hip Hop has shifted, southward. The sound of the era (especially the 2010’s, thus far) has been defined by those heavy 808’s and hi hats that were a signature feature of just about any southern Hip Hop classic you could name. Southern artists still drive the underground Hip Hop scene today, as its sound continues to evolve and stand out amongst its out-of-region contemporaries. Southern Hip Hop is now, in many respects, the status quo for the entire genre, and continues to define what is hot now, and what will be hot tomorrow.

For people who grew up on Southern Hip Hop, it’s a double edged sword. On the one hand, there is a certain pride that comes with the holding the proverbial Hip Hop crown. After all, the most publicized, artist polarizing time in Hip Hop’s history was a battle of supremacy between coasts (Ok, Maybe not THAT dramatic, but that was the principle, no? Which coast was the best?). On the other hand, though, not only has that sound evolved into something that we’re not as sure that we like so much as there isn’t much else out there–if one is to judge by their local radio station. But, the beauty of music–specifically Hip Hop–is its predisposition to change. So, it’s not fair to judge the music of the day just because we miss the music of yesterday. And, hey, since the dust settled from the deaths of Tupac and The Notorious BIG, the South has emerged as the most consistent, relevant, innovative, influential region of Hip Hop. Fact. So, why complain?

Now, throughout this decade-long campaign, each southern state has been well represented by its fair share of respective GOATs. But, when you start breaking down the artists by state, you’ll find a glaring absence (at least in the minds and hearts of its music fans) of one of the core states of the “Dirty South”: The Heart of Dixie, Ala-damn-Bama. We, here at Elevated Vistas believe that it is time that that changed.

We’re not saying Alabama hasn’t been represented. Acts such as Rich Boy, Doe B (Late), Dirty, Mr. Biggs (Late), Duece Komradz, and Small Time Ballaz all achieved respectable success, and are revered by Alabama Hip Hop lovers. However, Throughout the years, the Hip Hop acts that have hailed from Alabama have been, for whatever reason, respectively–well, modest.

Over the course of the past 4 or 5 years, as we tried to break our own artists through (we started with the intent of being an independent record label), we’d hear whispers amongst Alabama artists, DJ’s, hosts, and promotors alike that the state was disunited, and (to a large degree) maliciously preventive (i.e. Haters). And, while the latter remains unclear, there is definitely something to the state of Alabama’s music scene being at least somewhat polarized.

Collectively, we (Alabama) seem to be either oblivious or negligent to our own immensely diverse community of Hip Hop artists. We (Vistas) have encountered countless artists over the years, and we can say without question that the state of Alabama has some serious gems that nobody seems to know about, outside of their respective cities (and, in many cases, not even there). That is a tragedy, to us. And, we don’t want to sit by any longer and watch such diverse, genuine, hungry, original, DOPE artists go unnoticed anymore.

There is no simple solution to bring forth our artists into the mainstream. But, in a world where the entertainment and creative fields are as crowded as they’ve ever been, yet collaborations can be so easily achieved, it seems to behoove Alabama’s Hip Hop community to ban together for a cause that is not only greater than individual success, but may just be imperative for the same–particularly, in a state where there is an alleged lack of unity.

That being the case, we support Alabama Hip Hop artists with the bias of Harvey Updyke to the Crimson Tide. It’s time we all stopped being too proud to reach out and accept reach out’s for all of our sakes. We have a voice. I’m not sure if we’re muffling it, too “good” to listen to it, or simply don’t know it’s there. But, we’re certainly not nurturing it as much as we not only can, but should. We eat up everything that comes out of our surrounding areas. Why not lift a few artists of our own?

Elevated Vistas is making it our business to not only dig and find the best (Alabama) Hip Hop artists and help bring them to the surface, but to give you a place to get acquainted with them as well. Because, let’s face it: The Internet can be a big, scary place–especially when searching for Alabama Hip Hop artists. So, as a part of our monthly #DailyUndy☀️👙 playlist, we have created a new, Summer playlist that will be updated as frequently as we hear good, original music out of Alabama. We started this particular playlist last month, and will continue to update it as we become aware of new music.

One of Alabama’s best Hip Hop groups ever had a song whose hook went, “Man, we Hip Hop, too. It ain’t all about rap. See, we just waiting on a chance to put our state on the map.” It continues, “Man, they certified in Texas. Even ballin’ in Florida. But, how the f*** y'all gonna skip from Mississippi to Georgia?” It ends, “Man, we Hip Hop, too.” That was Small Tyme Ballaz–a group you’ve probably never heard of, if you live outside of the state of Alabama. And, that song, Hip Hop 2, is from 2006-2007. Those lyrics still ring true close to a decade later. We are Hip Hop, too. We’re as Hip Hop as Georgia, as Hip Hop as Texas, as Hip Hop as Tennessee, as Hip Hop as Florida, Mississippi, Louisiana, Kentucky, and all of the other Southern states whom have been and continue to be represented in both the mainstream and underground scenes of Hip Hop. It’s time we take our place in the Heart of Dixie. There is, in fact, Hip Hop in Alabama.

#ElevatedVistas

Cale Charles and Brown Link Up for Monster Collab

Are we the only ones geeked about this?

Alabama rapper, Cale Charles reached out to buzzing Tennessee Hip Hop artist Brown and the finished product, I Get Around, absolutely slaps.

With Tayo Fetti (formerly Trey3ightSpecial) on production, I Get Around focuses on modest lifestyles with hopes for something more, and the promiscuity that comes with the lifestyle that both Cale and Brown are living.

The hook is so reminiscent of 90’s Hip Hop in general. It has the head bopping element that catches your ear as soon as you hear it. Still, it manages to remain subtle and even relaxed. The melody is catchy and is delivered relatively softly by Charles, whose Off Dayz EP is releasing later this month. The hook just feels like a Sunday BBQ on the beach–which is why I love it. It’s feel good music. Something sorely missing in the 2010s Hip Hop scene. What really sells me about the hook is its suggestive subtlety.

What I mean by that is: You know those old school Hip Hop songs that dealt with real shit, but you could still play around you parents without it getting awkward (See: Lauryn Hill - Doo Wop, Next - Too Close)? This feels like one of those songs to me. And, that Nostalgic feeling when I listen to music is welcome back.

While the hook is what grabbed my attention, it’s the verses that made me stay. Cale opens up with a lively, but smooth few bars before breaking into a harmony of alliterations that really reminds me of Kilo Ali and Raheem the dream. He ends by entertaining the prospect of settling down with one woman. But, maintains that he won’t divulge any information regarding how many women he’s slept with. Can you relate? Yeah, me neither. (End sarcasm)

Brown comes in totally different, which shouldn’t surprise anyone who heard the Tennessee spitter’s 7:22 EP last February–or more recently, his single, Hey!HeyHey! in May. He opens with a nod to Slimm Thug’s verse from Mike Jones’ Still Tippin’, and then proceeds into an awesome punchline that uses the likes of D'Lo Brown and Smackdown to execute what might be the song’s best line. With his ridiculously unique style, Brown makes his case for why his subject should consider letting him cuff her. It gives the already modest nature of the song another element: Thoughtfulness.

All in all, I Get Around Is a smooth, nostalgic ride from two of the most unique artists from their respective areas. We’re hoping that the collaboration is one of plenty more to come. Because if this is, in fact their first collaboration, how much better can they get? Here’s to hoping we find out soon.

Cale Charles - I Get Around ft. Brown: https://soundcloud.com/elevatedvistas/cale-charles-i-get-around-ft-brown-prod-by-tayo-fetti

Written by Ida Wanyuluv

#ElevatedVistas

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Follow these Artists on Twitter:

Cale Charles: @CaleCharlesEV Brown: @worldofbrown

________________________________________________________ Follow Us on Twitter:

@ElevatedVistas

Can we take a moment to remind ourselves of how amazing Michael Jackson was?

We know we haven’t posted anything in a while, but we’ve got new #ElevatedArtistOfTheWeek submissions that we’re dying to look into. Expect us to be back to normal posting by next Sunday. Until then though, enjoy some dope music. I'm not sure if I'm late to the party, but I just heard this song 20 minutes ago. Love it. Check it out.

Rarely mentioned as one of the GOATs of Southern Hip Hop albums, but make no mistake--it is.

Can we just take a moment to appreciate how incredible Lauryn Hill is, musically and spiritually?

Who is Spooky Black?

About a month ago, we took notice of our Twitter timeline buzzing about an R&B artist who was going viral by way of World Star Hip Hop. We've seen this before though: A less-than remarkable artist gets an out-of-nowhere breakthrough. There's usually a lot of gimmick involved with these viral artists--some of them being of the "so bad that they're good" variety. However, we were pleasantly surprised to learn that this time, the hype was warranted, and the music was not only good, but wildly original. I can't say I've heard anything quite like this artist. His name is Spooky Black. He's white as snow, wears durags, and dons gold chains--over his turtle necks. And, did I mention he's dope? There's a lot of ironic mystery surrounding Spooky Black, and who he is, exactly--due, in large part, to 3 separate Twitter accounts claiming to be the "real" Spooky (although, we're pretty sure @SpookyBlack is really him). To a lesser degree, the limited amount of Spooky Black music releases is also a factor. The only thing that everyone (Twitter accounts included) seem to agree on is that Spooky is 16 years-old, and from St. Paul, Minnesota--verified on his official Bandcamp page (lilspook.bandcamp.com), where his music had been exclusively released prior to his sudden success. Whatever the case, Spooky's overnight rise has been noted by various prominent publications and artists, including Wiz Khalifa, Cardo, and Kraeshawn. Spooky Black's rise and overwhelmingly positive reception has been nothing short of remarkable. As undeniably peculiar as Spooky Black is, it wasn't his name that caught the attention of the Twittersphere. It wasn't his turtleneck. It wasn't his gold chain, or his white-as-snow complexion. What the Internet has fallen in love with about Spooky Black is the only thing that should ever matter: The music. Almost halfway through 2014, Spooky's single, Without U, is one of the best R&B songs of the year. And, with all due respect to artists like John Legend, and Beyoncé, it's quite possibly the best R&B single of the year. In the slow, melodic ballad, Spooky explains his love for a girl who he not only recognizes as being bad for him, but who is also not interested in being with him. A double-whammy, of sorts. No matter what he does, Spooky can never be with the female subject. The song has overtones of obsession, depression, and suicide. It makes for a fittingly "spooky" feel to the entire song. It plays almost sadistically with our emotions. When you first listen to the ballad, you'll probably be turned off by Spooky's basically stalking of the subject (even if only emotional stalking). But, by the end of the song, it's hard not to empathize with Spooky's grief--even if it isn't warranted. It comes off as so genuine that you feel sad for Spooky, and his unreciprocated efforts to woo the girl he loves. With lyrics like, "I'm not that perfect. Baby, are you worth it?", and "Let me take you away from the cold. Baby, be my diamonds and gold", you start to hate the female subject for not recognizing Spooky's advances. The genuine heartache conveyed in Without U is what makes it such an outstanding song. Topped with Spooky Black's effortless melodies, it begs to be listened to multiple times over, and is enough to warrant the purchase of the album. We actually bought his album, Black Silk, a few weeks ago, but haven't gotten a chance to really listen to it. As soon as we do, we'll be sure to post a review. All in all, to get a real grasp of Spooky Black, who he is, and what his music represents, you'll need to check out Without U (and, its equally out-of-the-box video on YouTube). Spooky is creating a lane all his own. A lane that is soon to be overcrowded with imitators, knock offs, and admirers alike. That's any genre, though. It's an inevitability that Spooky's music stylings be copied in the near future. And, why shouldn't it be? It's new, it's gripping, and most importantly, it's good. But, don't be discouraged, or upset for Spooky Black when/if this theory comes to fruition; because, if we've learned anything about music emulation, it's that history doesn't remember who did it second. History remembers who did it first, and who did it best. As of May 5, 2014, Spooky holds both of those distinctions--and, honestly, regarding the latter, if Without U is an indication of what's to come from Spooky Black, I don't think it's subject to change. *Durag Flip* #ElevatedVistas ___________________________ Follow this Artist on Twitter: @SpookyBlack Spooky Black - Without U (Prod. by Greaf): http://soundcloud.com/spookyblack/without-u-prod-greaf ___________________________ Follow Us on Twitter: elevatedvistas

#SpookyBlack #ElevatedVistas #BlackSilk #WithoutU

MAT-B - Summer Ain't No Good (Mixtape)

Last night, MAT-B (@matDASHb) released his new mixtape, Summer Ain't No Good (#SANG)--his first since last year's Cheap Wine and Good Times. We're expecting good things from it, and will post our review by the week's end.

MAT-B - Summer Ain't No Good (Mixtape): http://t.co/bP3cWLdRu5

Elevated Artist of the Week #5: FreakMane Da CEO [Video]

#ElevatedArtistOfTheWeek: Black Smile

After a long hiatus on the Elevated Artist of the Week segment, Elevated Vistas finally sat down with an emcee who, over the course of the last 6 months has built a considerable amount of buzz. Ladies and gentlemen, Black Smile.

1EV: We only recently starting following your career as an artist, after the release of 23rd Summer. How long have you been writing and recording music?

Black Smile: I’m doing good, can’t complain. I’ve been writing music since I was about 15. It started off with me just writing poetry and rhymes to no beat, and as time went on it was just a natural transition into writing music. I started off freestyling and writing to instrumentals with my homies NC Rose, AP Edison, and IDG, and we were recording on mp3’s and Zune’s and gradually more of my peers began to get actual recording equipment and that’s how it all started. My boys and I actually dropped a mixtape in high school recorded on an mp3 player and made $60 which at the time was a quick come up, lol. We had to “one take” the whole song or start over, lol, kinda crazy thinking about it now, but I (we) loved it so much it didn’t matter, we had to do what was necessary to make it happen.

EV: What artists had the most influence on you, stylistically?

Black Smile: The artist who influenced me most from the jump was Kanye West. I know that’s probably what a lot of rappers my age would say but I definitely mean that. When College Dropout hit, it was so perfect for me. Like, at the time I was about 15 years old, and the things Kanye rapped about changed the game in my opinion. He gave the hipster, cool kid, fly, polo wearing black teens a lane in hip-hop. Before that it was tall tee’s and snap music that was popping, and when Kanye hit, it was like okay, I can rap about anything now. You didn’t have to be a killer, or give’em drug talk or all that to be accepted and for people to listen to your music, recognize your talent and actually listen to what you were saying lyrically. I know it was a bunch of artist before ‘ye (Kanye) that were on his same tip, but he made it mainstream and like universally acceptable and that definitely was the biggest influence on my inception into rap, but I have to add Jay-Z was who I felt was the best rapper, lyrically and just how savvy he was with words, I wanted to somewhat pattern myself after him in a intellectual sense, but those two influenced me the most early on.

EV: You released 23rd Summer to critical acclaim. Has anything changed since that release, as far as exposure goes (feature inquiries, interviews, etc.)?

Black Smile: Man honestly, not too much. I picked up a good amount of followers on twitter off the tape. I had a lot of people @ing me, and giving me props on how much they liked the tape and how it affected them. That was really cool, just to get feedback and know that people actually listened to it and appreciated what I did. My homie Scoop, a real dope rapper/producer from the crib goes to school out in New Orleans and a guy he does music with heard the tape, and told me that I made him still have a hope for hip-hop, hahahaha. That was crazy, even on a small scale, that was crazy to know that even if it was one person, or thirty people or whatever, what came from my heart, mind, and soul, could touch somebody I don’t know. That was dope. Besides that, I mean some girls be like “Oh, I heard you rap, You’re really good” lmao, and you know that’s never a bad thing, so nothing changed too drastically, but just gained some more exposure and built a little more of a grassroots following, so it served its purpose, but I’m still pushing hard to get 23rd out more, because it is timeless music in my opinion and I can’t let it die just yet.

EV: What inspired you to write 23rd Summer? Where did the concept and sound of it come from?

Black Smile: My first mixtape was a tape called G.O.B (Growth of Buzz), then The Black Tape, then The Black II, and so I wanted to kinda get away from the Black Tape concept and save it for my first album, so 23rd was just like the next project. The concept came from me turning 23 years old last year and I just wanted it to be a summary of things I’ve learned and been through up to that point in life. I let my producers know, my homies from school, (WSSU) Terry Miller aka Boi Genius and Travis Davis aka AstroBeatz and from there they just started throwing me different beats and from that I just came up with all the songs and it was what it was. It was just the zone and vibe I was in that moment and it came out really dope. My homie TY Young Drumz gave me the beat for the 2nd track Party Foul, and that was one of the dopest tracks on the tape, so much love to Drumz for that look.

EV: Is there any particular album that influenced the sound or tone of 23rd Summer?

Black Smile: Nah, I can’t think of anything in particular that influenced the sound of 23rd, but I was listening to a lot of Dom Kennedy and Kendrick Lamar at that time, so maybe that melted into how I was vibing at that time, but that was bout it though.

EV: What's your favorite song from 23rd Summer?

Black Smile: My favorite song on 23rd is The B Side. Not to be conceited lol, but it’s hard for me to pick a favorite because I tried to make sure that every song on the tape was like my favorite song to make the cut, but B Side just stands out for me. When I listen to it, my flow on that joint is kinda nostalgic of somebody but I can’t put my finger on it, but its crazy when I hear it cuz, I be like, oh that’s me, haha. I don’t know, that joint just goes super hard, and its so much real shit that I’m kicking that it has to be my favorite song. Along with the beat which is crazy tight, and it kinda takes you somewhere when you hear it. It puts you in a zone, and the whole tape kinda takes you somewhere. It’s like you’re in Black’s world, lol, but yeah, B Side is my personal favorite.

EV: What do you want ppl to take away from it (23rd Summer)?

Black Smile: If nothing else I want people to just hear that its rappers out here who really have soul. Rappers who really aint gotta hit you with a gimmick or silly songs and silly hooks to catch your attention. That real hip-hop is still able to capture your imagination and inspire you to want to do better, live better, and be cognizant of what's really going on out here in the world and that even when it feels like no one else feels how you feeling, I do. I’m just happy that people have a chance to check me out and see I got that real rap for you, no gimmicks, just dope beats, and dope lyrics, and a hope that real niggas can prevail.

EV: You recently dropped a video for See My Soul, one of the album's standout tracks. Can we expect more videos for any other cut(s) from 23rd Summer?

Black Smile: I dropped a video for the intro track, and for See My Soul 2 Ft. IDG up to this point. I’m actually in the process of shooting videos for all the tracks on 23rd hopefully and make it kind of a movie type feel. Like a hip-hop trapped in the closet, lol. I feel like the tape is so dope that it definitely needs visuals for every track to help put a face to what the song is trying to accomplish, so yeah look for more videos dropping soon, all the way into the summer.

EV: Have you started working on your next project? If so, can you give us any details about it?

Black Smile: I’ve started some minimal recording for my next project, tentatively titled “Circa 1988.” I don’t wanna put a date on it yet, but look for me during either the summer or fall, but I wanna drop some singles and tracks they may not be on the next project just to spark some momentum. I’m excited about it.

EV: What's next for Black Smile? Where are you going from here?

Black Smile: Next is just continuing to promote 23rd Summer to the fullest, trying to plan some shows somewhere between Charlotte, Winston-Salem, or Gastonia, NC, or all places, and working on my next project. Shooting videos at every opportunity for 23rd Summer and for the singles on the next project, and also doing features for other artists, and just stay working, stay grinding, because I know it’s going to pay off, and this music shit is gon pop. All my homies working, AstroBeatz, Boi Genius, J Sum, IDG, AP Edison, NC Rose, Scoop, TY Young Drumz, EhK, . So I’m excited for me and my team and just trying to stay focused, that’s all.

EV: Thanks, man. We appreciate the time, and more importantly, the music.

Black Smile: Thanks for checking me out, and I appreciate the interest and the time you took. So BIG UPS to Elevated Vistas and I hope this isn’t the last time I’m able to do this. Much Love.

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