I had to call bullshit. For some reason over the last few years "street" music has become known as this hybrid of niggas who really can't rap, don't bother trying to flow, hardly exercise their vocabulary, rarely offer any social commentary So what these folks consider "street" music now, I just don't get it.
Seeing as how I try to stay abreast of everything that comes out, and have been doing so for years, I want to say that I've heard of dude before. Maybe it was from some of the interviews I've done or read with San Quinn over the last few years where he might have been named dropped. Or shit, maybe somebody from his team might've emailed me in the past and I just slept.
But for right now, I really can't say that I have heard of dude. But I'm glad to say I know who he is now. It brings you into his world, but doesn't he doesn't come off as some rapper tour guide trying to show how hard he is because of his environment. This of course prompted me to investigate and find some of his music online. And just like Radiohead and Saul Williams before him, its also available for sale on iTunes I encourage you to check this out and pay for it because its definitely worth the money.
I mean, this is a real album with quality raps, production and all around effort, which is hard to find in a time where throwing out random mixtapes seems to be the way to go, support off that alone if not anything else. The entire project was produced by production team Drums and Ammo, meaning that The Day The Turf Stood Still does just that, stands still and lets you enjoy it instead of getting too many producers on it trying to shine and taking the project all over the place. They kept all of the production either hard or on some soulful pimp shit as you should expect from a rapper coming from Fillmore or "Fillmoe" as its properly pronounced.
Matter fact, let me try to sum things up in saying, if you listened to The Product and fuck with Willie Hen Davinci is kinda like Willie Hen, a little slicker with the actual wordplay and with better beats. I'm just saying Davinci's flow is a tad bit more "lyrical" when it comes to the metaphors and what not, make sense? I can't consider you street if you can't analyze and break down why things are. Anybody can get on a record and RAP about selling drugs and shooting pistols.
It takes talent to paint the picture and politics that revolve around those things. If any of this caught your ears, you can go to Davinci's website and listen to the whole album I don't expect for it to let me down there either.
U-N-I feat. Can't sit here and act like I'm all the way up on these cats like that. But I am fully aware that they put out some pretty good music. Got a chance to peep them at A3C last year and was thoroughly entertained. Here's a new video from their A Love Supreme 2. I'd like to hear some DJs throw this on their mixtapes or give this a spin in the club sometime. Labels: Music , U-N-I. Pill-"Hear Somebody Comin'". Pill 's new video for "Hear Somebody Comin'" literally came from out of nowhere today.
Pretty cool though. Spotted at SMKA. Big Boi feat. New video from Mr. Patton, Mr. Shaw and Mr. Labels: big boi , Music , Where I'm From. Tuesday, March 9, Spy Phones Everywhere! This is crazy. I'm mean, I always thought that these phones and all their apps were nothing but tracking devices, but hell, I guess this ABC News report makes it official.
Meaning pretty much Bobby Creekwater-"Exhibit B. Fray always been dope with the videos and he seems to work very well with Bobby Creek. I especially like the way they worked the Jordan passing to Kukoc footage when Bobby rhymed "if I ain't Jordan, then I'm on the team B aka Bobby Ray feat. It just has a happy spirit to it. This really made me smile.
I'm glad to see them really put some effort into making sure this song got the proper visuals, anything short of innovated would've been a failure. I met the guy who directed this video last week Labels: b. Monday, March 8, T. Hang out with some older jazz musicians and you'll hear them describe younger players-- often highly fluent, well-rehearsed ones-- with one dismissive phrase: "he ain't sayin nothin.
Charisma and creativity, musicality and personality, and particularly the idea of having something worth saying-- all more abstract criteria, admittedly-- can easily be shortchanged by those looking for the next hyphy to change the world.
DaVinci's biggest strength is that while he embraces the aesthetic conservatism of 90s New York, a measured, uninterrupted monotone with a clearly-articulated cadence, he doesn't let that be the end itself; it's just a medium to convey a higher cause, to establish a rapper whose personality builds gradually from the content of his lyrics.
By Jim Harrington jharrington bayareanewsgroup. Well, here are 10 young men that could change that rap. Nappy Roots - Pursuit of Nappyness Rick Ross - Teflon Don. This took me a while to make, so i felt like posting it. Enjoy 1. Wu-Tang Clan - C. The Notorious B. Nas - the World Is Yours 7. Public Enemy - Fight The Power 8.
The Roots - What They Do 9. Brand Nubian - Slow Down The Pharcyde - Passin Me By The Sugarhill Gang - Rappers Delight Nas - One Mic OutKast - Ms. Jackson Wu-Tang Clan - Triumph Big L-Put It On OutKast - Rosa Parks Eminem - Stan Kanye West - Jesus Walks DaVinci Who: San Francisco rapper with one foot in the decades-old tradition of confessional, slightly askew Bay area gangsta rap, and the other planted firmly in the of-the-moment, grabs-from-whatever Internet street rap of say, Main Attrakionz.
With last year's Feast or Famine EP, DaVinci climbed out from under an uncharacteristic, NYC boom-bap obsession to apply his tongue-twisting introspection to a broader, more varied collection of beats. At the risk of sounding like a pastry connoisseur, everything San Francisco's DaVinci cooks up just oozes quality. Engineered to perfection and shot in understated high definition, EP highlight 'Paying For My Past' comes to life even more so with this typically epic video.
The cinematography on this is just excellent too. DaVinci just raps, dude. It features a more light-hearted and carefree version of the Fillmore, Calif. Erick Lee and Chad Ross bring the foolishness to life here in their video, which is appropriately draped in a purple haze.
There's been a lot of attention lately given to the Bay Area's more out-there rappers, like Kreayshawn and Lil B. But plenty of locals are making slightly more conventional -- albeit no less worthy -- hip-hop.
His gravelly flows are smooth and imaginative, the beats are fresh and engrossing, and none of the tracks on this eight-song EP overstay their welcome. While his last effort, The Day the Turf Stood Still, focused on the impacts of gentrification on his Fillmore neighborhood, Feast or Famine deals with ghetto life itself, and what DaVinci says is the all-or-nothing nature of success.
After the jump, grab a free download of Feast or Famine and find a video of DaVinci discussing the new project. It also ensured that we would be all over whatever he had coming next, which ended being an EP by the name of Feast or Famine. Elsewhere, DaVinci gets even more chill on G-funk-y weed anthem "Smoke the Night Away," which has some personal narrative touches, too.
Leave it to DaVinci to make a raw song about cooking crack into a warm, personal meditation on working to live. The key here is his voice, which is an unremarkable rasp.
We mean that in the best sense though—he has a point and an emotional thrust behind that point, and he is very good at being direct. Last month, Fillmore District rapper DaVinci released what will likely end up being one of the best S. It's too early to formally issue such high praise yet, but Feast or Famine is eight tracks of smooth rhymes from a San Francisco native to who tells the stories of life in his neighborhood straight, backed by beats from some the most creative producers in local hip-hop.
Today, DaVinci released a five-minute video showing snippets of his life in the Fillmore and the making of the free EP. It's a revealing look at one of S. In the internet era, standing out from the hip-hop crowd often requires youthful immediacy, extreme novelty, and a willingness to throw anything at the wall in hopes that something sticks.
This isn't a bad thing-- a lot of times, it's what makes keeping up with hip-hop so exciting. But confident artists, artists with a strong sense of self, should be celebrated for adhering to modest ambitions. If anything, in order to have a career that lasts these days, this kind of long-term consistency will become a necessity to combat the hype-backlash loop.
Bay Area rapper DaVinci's new Feast or Famine EP, which follows last year's The Day the Turf Stood Still debut, is a release that refines an existing formula, relying on a distinctively wistful production aesthetic and the kind of rapping that feels like a labor of love, from an artist who sees hip-hop as a career.
But the bulk of the record has a glossy, carefully-crafted professional sheen. As on his previous record, his vocals are proficiently musical. He has a sixth sense for rhythm and rhyme patterns, which largely overcomes a vocal style that otherwise operates as a detached flatline. As on The Day the Turf Stood Still, his lyrics offer a lot to close reading, if you're that type of rap fan.
His worldview is thoughtful and nostalgic, affecting a nuanced sense of melancholy one moment balanced with hopefulness the next. This is a step up from his previous release primarily because of the production. Where The Day leaned on the predictable reliability and ideological baggage of classic boom-bap to frame DaVinci's lyrics, Feast or Famine has a more consistent, unique production style. In keeping with the relaxed pace of his music, the beats are svelte, all smoothed edges and rolling momentum.
It conveys the immersive thrill of speeding down the highway with the windows up, the same feel of comfort and control, observing the passing images of an inescapable world outside. The record has a warm, welcoming feel but doesn't shy away from the kinds of real-world dilemmas of the thoughtful street rap archetype. It's an introspective, therapeutic quality, like the internal monologue of a person reflecting privately on the tangled problems he's been forced to confront.
The album's climactic moment epitomizes this contradiction between lush comfort and the ugliness of the outside world. With a propulsive bassline and muted trumpet samples, the incredible "Paying for my Past" refers briefly to a life of drug dealing "I used to hide my bundle in a laundromat lint trap DaVinci's expressionless vocals help balance the emotive content of his words and the immediacy of the production, packing a wistful emotional punch.
Not in the ectoplasmic Edgar Allen Poe way, but via the dead friends, ancestors, and memories that infect his consciousness and surroundings. Instead, his album is called The Day The Turf Stood Still, a knowingly ironic twist on his neighborhood that refuses to stay static. Cinematic is the prevailing cliche that springs to mind when discussing the record. He refuses to brand the gentrification as evil or good, watching with eyes both sober and stoned, reminiscing without nostalgia or glamorization of a childhood with an incarcerated father, surrounded by drug addiction and poverty.
The best kind of haunting no Liam Neeson. In , it seems like every MC emerging from California is either a blog-friendly act or still on the hyphy tip.
Refreshingly, DaVinci is neither. He recalls the earlier days of Jay-Z and Scarface -- particularly the latter, when it comes to his throaty cadence and flow. And that is not a round-about way of labeling DaVinci as a '90s revivalist. Rather, he provides an updated take on the lyrical depth and styles of those aforementioned MCs with a Left Coast bent.
That boils down to a hefty dose of storytelling and braggadocio mixed with witty wordplay and metaphors among tales of his trails and tribulations in Fillmore. Particularly engrossing is DaVinci's in-depth look at the issue of gentrification in his Fillmore neighborhood.
While it's always been a hot-button topic, it's not one that typically resides in the bars of today's rappers. But that's exactly what you get on grimy narrative "What You Finna Do? It was released earlier this year on Sweetbreads Creative Collective. DaVinci guides you on detailed account of a walk through Fillmore.
Gone are the liquor stores, which were replaced by coffee shops, and gone are the drug dealers, who were scared away by security cameras and a strong police presence. It's a revealing look at what's happening within some of America's struggling cities.
What DaVinci ultimately succeeds in doing is bridging gaps. He put out an album that older heads and younger listeners both can appreciate. He portrays inner city life in a way that provides us with an experience we would likely never live ourselves. And he does it with a socially aware tone, so even his most greed-driven, thug-centric rhymes can appeal to conscious-rap fans. The short version: It's a local rap mixtape, and it's good.
Today arrived the video for the mix's title cut, a flush, laid-back rhyme featuring S. Ghetto To Mars [Explicit]. See Another Day [Ft.
Myisa] [Explicit]. Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. Sell on Amazon Start a Selling Account. AmazonGlobal Ship Orders Internationally.Mar 09, · DaVinci 'The Day The Turf Stood Still' Album Download Available Now + Hometown Paper Feature via S.F. Weekly The song "What You Finna Do?," released earlier this month by Fillmore District rapper DaVinci, opens with a vocal sample from the PBS documentary The Fillmore.