Looked at Kanye's whiteboard and saw two tracks cut from the album
Feels good to see a definitive W in hip hop.
AOTY for me. Never really checked for for Push prior to this, but I was really feeling it on my way to work yesterday morning. Came home to Adidon, and it had me amped af. This morning during my commute, while bumping Daytona, I was bobbing my head harder than I have in a very long time, and actually had me looking forward to my day
Yeah, there's a a lot of coke rap on it, but I didn't find it to be overwhelming in the least.
People always talking about how drake shifted the culture, but hopefully this will push the needle back in the right direction.
Also, I didn't think Kanye still had it in him tbh. As hype as people are right now, this might make 'Ye do a 180 and pull an OJ of his own (not that I'm even sure that he did it
) 
"This ain't for the concious
This is for the mud-made monsters
Who grew up off nikkas out of Yonkers
Influenced by nikkas straight out of Compton"
Can already tell this is one of the albums thats gonna be stuck in my head for years. Been fukkin with the Clipse since I watched 30 seconds of the Grindin video. He restored the feeling...
This is for the mud-made monsters
Who grew up off nikkas out of Yonkers
Influenced by nikkas straight out of Compton"
Can already tell this is one of the albums thats gonna be stuck in my head for years. Been fukkin with the Clipse since I watched 30 seconds of the Grindin video. He restored the feeling...
phrank kastle
Pro
This is the exact reason to why I don't mind short albums, I've already been able to play it in full like 10 times. This is nearly on the same level as HHNF without the fillers. Not a 9+ like HHNF but definitely closer to 9 than 8 for me. If he can keep the same spirit he's on right now and can add 3-4 tracks to make it complete, Pusha is moving up on them all time lists 
.
And Yeezus C(oon)hrist + team, nearly "replaced" Pharrell as worthy as they "replaced" Dilla for Com.
That's a smart ass kid though, dudes getting references, censoring himself, hitting'em with that "Is this that good Marvin Gaye"
.And Yeezus C(oon)hrist + team, nearly "replaced" Pharrell as worthy as they "replaced" Dilla for Com.
That's a smart ass kid though, dudes getting references, censoring himself, hitting'em with that "Is this that good Marvin Gaye"
KravenMorehead™
Barrel Brothers.®
It's a bar for drake on every song on this album
Lemme find out sophie fukked a janitor...
Lemme find out sophie fukked a janitor...
Pusha-T, a Lecturer Seeking a Target, Finds One
Pusha-T raps about ethics on “Daytona,” an album produced by Kanye West. His post-release back-and-forth with Drake, however, has been grabbing more headlines.CreditFabien Montique
By Jon Caramanica
That’s been the case since his days rapping alongside his brother, Malice, as one-half of the Clipse; together, they were responsible for some of the most ferocious and meticulous drug-dealing-demimonde rapping the genre has ever seen. But Malice has become No Malice — he’s given himself to a higher power — and Pusha-T is left to till that poisoned soil on his own.
He is 41 now, and committed to the work, making canvases that look similar from far away but up close reveal a fluency in pointillist detail. On “Daytona,” his fourth solo release — at seven songs totaling 22 minutes, it’s an EP masquerading as an album — he remains rigorous, declaiming with a severe voice salted with light gravel.
His topic: Ethics. A code of conduct derived from a bygone era in rap. Every time Pusha-T mentions Ghostface Killah and Raekwon, or alludes to the Lox, or name-checks Akinyele, he prizes a kind of street formalism particular to the New York (and New-York-inspired) rap of the 1990s, which has now largely been relegated to the underground.
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This is his bailiwick, though, and there’s plenty of it on this strong album. On “Hard Piano,” he’s sneering, and “The Games We Play” is staggeringly good: “Caviar facials remove the toxins/This ain’t for the conscious, this is for the mud-made monsters.” On “Come Back Baby,” he traces the path from illegal business to legal, from anonymity to fame back to anonymity:
Blew through thousands, we made millions
Cocaine soldiers, once civilians
Bought hoes Hondas, took care children
Let my pastor build out buildings
Rapped on classics, I been brilliant
Now we blend in, we chameleons
Pusha-T doesn’t hurry; he’s sniper patient. On songs like “If You Know You Know,” he sometimes raps so crisply and sparsely — “A rapper turned trapper can’t morph into us/But a trapper turned rapper can morph into Puff” — that he almost feels disconnected from the song’s rhythm. His syllables have hard edges, and rarely does he let feeling get in the way, though the one exception is “Santeria,” inspired by the murder of his road manager. On this song, you can almost hear the wetness in Pusha-T’s rhymes, his typical stoicism traded for something a little short of breath.
Image
Pusha-T’s fourth solo release is “Daytona.”
“Daytona” was produced in deeply satisfying fashion by Kanye West, with additional production by his longtime collaborators Andrew Dawson and Mike Dean. It is a return to Mr. West’s early days as a seeker and reinterpreter of deep samples, but overlaid with the coldness and menace of his “Yeezus” era.
When “Daytona” was released last week, it was met with a fevered response. But in a desert, water has a way of appearing not just wet, but sweet. “Daytona” may stand alone in this moment — particularly in contrast to the woozy, blown-out rap albums dominating the chartsbecause of the primacy of streaming — but it isn’t as effective as “My Name Is My Name,”Pusha-T’s 2013 full-length solo debut album. “Daytona” is terser, leaving only nits to pick; say, that the second and third verses of “Come Back Baby” lack the fire and wit of the rest of the album.
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Authority, of course, is regionally and temporally specific — what’s acknowledged as certitude now sounds nothing like it did when Pusha-T was growing up. “I’m too rare amongst all of this pink hair,” he raps on “Hard Piano,” a sidelong shot at the excesses of the SoundCloud generation. Pusha-T stands out amid the meditative, louche koans of Playboi Carti or the creaky whine of Lil Baby.
And of course, he stands in contrast to Drake, the melodist who has been the biggest influence on hip-hop this decade. He is a thorn in Pusha-T’s side, a convenient antagonist. On “Infrared,” Pusha-T renews the critique that Drake has had help writing his raps: “The lyric penning equal to Trump’s winning.”
Less than a day after “Daytona” was released, Drake replied with a cruel song, “Duppy Freestyle,” calling Pusha-T’s street bona fides into question and perhaps crossing a line by mentioning his fiancée.
On Tuesday, Pusha-T released “The Story of Adidon.” Rapping over the beat from Jay-Z’s “The Story of O.J.,” a song about a crossover star’s racial anxiety, he replied in deeply personal terms, suggesting that Drake has anxiety about his relationship to blackness (the cover art is a discomfiting old photo of Drake, who is biracial, in blackface); that Drake’s father abandoned the family; and that Drake — who, Pusha-T alleges on the song, has a secret child — is on the path to revisiting his father’s sins. There are cruel words about Drake’s mother, and about 40, his producer, who has multiple sclerosis.
It is heartless, ice-cold stuff — shockingly intimate information used against an artist for whom intimacy was long his stock in trade. Pusha-T’s proclamations are typically abstract, more particular to his experience than to any specific target. But when a target arrives, he’s prepared.
Pusha-T raps about ethics on “Daytona,” an album produced by Kanye West. His post-release back-and-forth with Drake, however, has been grabbing more headlines.CreditFabien Montique
By Jon Caramanica
- May 30, 2018
That’s been the case since his days rapping alongside his brother, Malice, as one-half of the Clipse; together, they were responsible for some of the most ferocious and meticulous drug-dealing-demimonde rapping the genre has ever seen. But Malice has become No Malice — he’s given himself to a higher power — and Pusha-T is left to till that poisoned soil on his own.
He is 41 now, and committed to the work, making canvases that look similar from far away but up close reveal a fluency in pointillist detail. On “Daytona,” his fourth solo release — at seven songs totaling 22 minutes, it’s an EP masquerading as an album — he remains rigorous, declaiming with a severe voice salted with light gravel.
His topic: Ethics. A code of conduct derived from a bygone era in rap. Every time Pusha-T mentions Ghostface Killah and Raekwon, or alludes to the Lox, or name-checks Akinyele, he prizes a kind of street formalism particular to the New York (and New-York-inspired) rap of the 1990s, which has now largely been relegated to the underground.
ADVERTISEMENT
[Never miss a pop music story: Sign up for our weekly newsletter, Louder.]
This is his bailiwick, though, and there’s plenty of it on this strong album. On “Hard Piano,” he’s sneering, and “The Games We Play” is staggeringly good: “Caviar facials remove the toxins/This ain’t for the conscious, this is for the mud-made monsters.” On “Come Back Baby,” he traces the path from illegal business to legal, from anonymity to fame back to anonymity:
Blew through thousands, we made millions
Cocaine soldiers, once civilians
Bought hoes Hondas, took care children
Let my pastor build out buildings
Rapped on classics, I been brilliant
Now we blend in, we chameleons
Pusha-T doesn’t hurry; he’s sniper patient. On songs like “If You Know You Know,” he sometimes raps so crisply and sparsely — “A rapper turned trapper can’t morph into us/But a trapper turned rapper can morph into Puff” — that he almost feels disconnected from the song’s rhythm. His syllables have hard edges, and rarely does he let feeling get in the way, though the one exception is “Santeria,” inspired by the murder of his road manager. On this song, you can almost hear the wetness in Pusha-T’s rhymes, his typical stoicism traded for something a little short of breath.
Image
Pusha-T’s fourth solo release is “Daytona.”
“Daytona” was produced in deeply satisfying fashion by Kanye West, with additional production by his longtime collaborators Andrew Dawson and Mike Dean. It is a return to Mr. West’s early days as a seeker and reinterpreter of deep samples, but overlaid with the coldness and menace of his “Yeezus” era.
When “Daytona” was released last week, it was met with a fevered response. But in a desert, water has a way of appearing not just wet, but sweet. “Daytona” may stand alone in this moment — particularly in contrast to the woozy, blown-out rap albums dominating the chartsbecause of the primacy of streaming — but it isn’t as effective as “My Name Is My Name,”Pusha-T’s 2013 full-length solo debut album. “Daytona” is terser, leaving only nits to pick; say, that the second and third verses of “Come Back Baby” lack the fire and wit of the rest of the album.
ADVERTISEMENT
Authority, of course, is regionally and temporally specific — what’s acknowledged as certitude now sounds nothing like it did when Pusha-T was growing up. “I’m too rare amongst all of this pink hair,” he raps on “Hard Piano,” a sidelong shot at the excesses of the SoundCloud generation. Pusha-T stands out amid the meditative, louche koans of Playboi Carti or the creaky whine of Lil Baby.
And of course, he stands in contrast to Drake, the melodist who has been the biggest influence on hip-hop this decade. He is a thorn in Pusha-T’s side, a convenient antagonist. On “Infrared,” Pusha-T renews the critique that Drake has had help writing his raps: “The lyric penning equal to Trump’s winning.”
Less than a day after “Daytona” was released, Drake replied with a cruel song, “Duppy Freestyle,” calling Pusha-T’s street bona fides into question and perhaps crossing a line by mentioning his fiancée.
On Tuesday, Pusha-T released “The Story of Adidon.” Rapping over the beat from Jay-Z’s “The Story of O.J.,” a song about a crossover star’s racial anxiety, he replied in deeply personal terms, suggesting that Drake has anxiety about his relationship to blackness (the cover art is a discomfiting old photo of Drake, who is biracial, in blackface); that Drake’s father abandoned the family; and that Drake — who, Pusha-T alleges on the song, has a secret child — is on the path to revisiting his father’s sins. There are cruel words about Drake’s mother, and about 40, his producer, who has multiple sclerosis.
It is heartless, ice-cold stuff — shockingly intimate information used against an artist for whom intimacy was long his stock in trade. Pusha-T’s proclamations are typically abstract, more particular to his experience than to any specific target. But when a target arrives, he’s prepared.
Hard Piano has been given new life by The Story of Adidon.
Never trust a bytch who finds love in a camera
She will fukk you, then turn around and fukk a janitor
Set the parameters
You either with the pro ballers or the amateurs
I won't let you ruin my dreams or Harvey Weinstein the kid
Good morning, Matt Lauer, can I live?
Pusha!
KravenMorehead™
Barrel Brothers.®
Made sure he dropped the album before the fact too
so drake media soldiers can't go back and act like it ain't critically acclaimed
so drake media soldiers can't go back and act like it ain't critically acclaimed
Broke Wave
The GOAT
Forget the diss... this Album is amazing
KingsOfKings
𝕄𝕒𝕕𝕝𝕚𝕓 𝕚𝕤 𝕥𝕙𝕖 𝔾𝕠𝕒𝕥
KingsOfKings
𝕄𝕒𝕕𝕝𝕚𝕓 𝕚𝕤 𝕥𝕙𝕖 𝔾𝕠𝕒𝕥
Remember Will Smith won the first Grammy?
And they ain't even recognize Hov until "Annie"
So I don't tap dance for the crackers and sing Mammy
'Cause I'm posed to juggle these flows and nose candy
And they ain't even recognize Hov until "Annie"
So I don't tap dance for the crackers and sing Mammy
'Cause I'm posed to juggle these flows and nose candy
KingsOfKings
𝕄𝕒𝕕𝕝𝕚𝕓 𝕚𝕤 𝕥𝕙𝕖 𝔾𝕠𝕒𝕥
oh boy