Welcome to this week’s Weekly Mixtape. Here are some of the week’s best tracks. You’re welcome.
Nas ft. Rick Ross, “Accident Murderers” (prod. No ID)
Much as he insists on toeing the line of oversaturation, Rick Ross, with his increasing ubiquity, has yet to become all that grating. You can still press “play” on a track by Nas and register pleasant surprise when, halfway through, Nola’s prince regent cedes the stage to Ross’s guttural cannonball of a voice.
That “Accident Murderers” far outstrips the other offerings from Nas’s forthcoming Life Is Good also helps matters. With a fairly sophisticated investigation of its subject matter and a thunderous, organ-based beat, the track careens through four verses of A-grade material from both MCs.
Meek Mill ft. Rick Ross, “Black Magic”
Rick Ross’s Maybach Music Group has stacked its lineup with a stable of MCs whose talents so thoroughly cover each other’s blind spots as to raise the possibility of them functioning as a single, unbeatable super-unit. Though the label’s Self Made 2 mixtape fails to exploit this possibility to its fullest (owing mostly to a succession of thin beats), tracks like “Black Magic” nonetheless allow two of Maybach’s finest constituents to fill in the cracks in each other’s styles. This track finds Ross’s phlegmatic bark forming a perfect counterpoint to Meek Mill’s whip-quick flow.
DJ Kay Slay ft. Beanie Sigel, Freeway, Young Chris and Tray Lee, “Microphone Murder”
It looks like murder is a hot topic this week. Atop a stomping beat from DJ Kay Slay, Philly’s reigning potentates discourse on murder, drugs and other things that sound that much more frightening when backed by rib-rattling horns.
Any excuse to put Freeway on a track is all right with me, and “Microphone Murder” once more reminds us that the longstanding Philadelphia MC gets far less credit than he deserves.
Bangladesh ft. Jadakiss and Pusha T, “100”
Both Bangladesh’s beat and this accompanying video clip fall squarely into the realm of “weird,” which is good, seeing as Pusha T, Jadakiss and hip-hop in general could use a healthy injection of the bizarre at this very moment.
A track based around a robotic vocal sample and a series of de-tuned synthesizers has no right to be this catchy. In this case, the accompanying day-glo asses are actually of a piece with the whole thing’s mood of incongruously engrossing oddity.