Welcome to your Weekly Mixtape October 12, 2012.
Jay-Z, “Give It To Me / Big Pimpin (Live in Brooklyn)”
As can perhaps be expected from a businessman of Jay-Z’s savvy, the MC’s string of eight shows at the Barclays Center in Brooklyn is being commemorated in the imminently consumable form of a concert album.
For those frustrated by cruising a week’s worth of shaky YouTube clips, this double helping of Jiggaman singles offers a welcome relief. It’s the first produced sample of one of the decade’s most talked about shows, and judging from the evidence, things were going legitimately bananas. If you missed out, I suppose you’ll just have to console yourself with these clips. Either that or wait until Hova opens another career-defining sports arena.
Kanye West, “White Dress”
Sure, this song has a ridiculous, tabloid-bating conceit, but it’s still worth talking about for a couple reasons: 1) Maybe he’s been falling victim to his frantic schedule, but this is the first track in a while on which Kanye West has so effectively earned his solo credit. Even when applied to the subject of marrying a walking meme, Yeezy’s lyrical imagination can turn out some devastating material. 2) The RZA pulls down a production credit on this song, which is destined for a featured slot on the soundtrack for The Man With the Iron Fists, RZA’s directorial debut.
Check out the song in question, as set to a touching montage of unrelated travel photography by a kindly stranger.
Chris Webby ft. Kid Ink & Bun B, “Wait a Minute”
A nearly perfect mixture of form and content, this single from Chris Webby matches three MCs with a beat that somehow plays to each of their individual strengths. The slinking guitar line around which “Wait a Minute” builds its verses sounds like it could have been pilfered straight from Curren$y’s The Stoned Immaculate, an album that has set the past year’s standard for unassuming cool.
Tony Yayo ft. Beanie Siegel, “Bad Guy”
Good to hear from ya again, Tony Yayo. Nice to see you brought along your best track in years.
“Bad Guy” not only lets Tony don his hood villain persona yet again, but also provides him a brassy rhythmic cushion on which to ply his brassy rhythmic lyrical skill. This stuff is classic G-Unit, which, as Yayo reminds us, isn’t necessarily a bad thing.