I really thought there was no point in posting this for the longest time. It’s Drake, everyone knows that dude. But when I hear as music as good as this, I can’t make this a popularity contest (or the opposite of one).
I’ve never liked a single Drake original, really not a fan of his rap, but like Gambino before him, I’ve finally discovered his soul voice is much better than his rap one. ‘Hold On, We’re Going Home’ seems clearly influenced from his protege, The Weeknd and I like where he’s going with it. Drake has completely turned me to the much more pleasant side of his sound.
Like the electro funk song I just posted, ‘The Way You Move’ sounds so familiar. The vocals either sound like some one hit wonder from the 90’s or I’ve stumbled on a chorus so good it’s already stuck up in my long-term memory. Either way, this is a polished 90’s hit with soulful vocals provided by Chuck New. He’s really what brings it all together, as vocals always tend to.
One thing I wasn’t feeling on Padrul’s latest is that vinyl-like scratching. I don’t mind it when used right, but when I think my speakers have gone to hell I know it’s not the right fit for this one.
Thicke has been getting some flack for his sexually crude undertones, but ‘Blurred Lines’ is still soulful as fuck. And if you pair that voice up with one of my favorite dilated soul producers and Sammy Bananas makes one hell of a Thicke bootleg. Thankfully it’s not of ‘Blurred Lines.’
Bananas slows down everything in this ‘Feel Good’ remix, repitching Thicke with a much deeper sense of what soul is.
Doja Cat’s style in ‘Nunchucks’ reminds me of Erykah Badu’s ‘Rimshot.’ It’s how she twists her words and ‘Nunchucks’ is all twisted up. Not only does she have style, but the lyrical prowess to back it.
The beat from ‘Nunchucks’ takes from MNDSGN’s ‘Legwarmrs’ – and even though it needs a bit more fit for Doja’s voice, I like how the two clash. Doja clearly has somethin goin with this.
I may have been more of a Michael fan back in the day, but Janet is the one making a comeback in this untraditional style, via the remix. She’s got a handful of my favorite disco, soul & funk producers remixing her right and I’ve been waiting far too long to present it to you. Now some of them have been so chopped & fucked with that it doesn’t even sound like Janet anymore, but I assure you it’s all in good taste. Guarantee you’ll find some gem to obsess over for sometime.
I’ve been searching for this song for days. I thought I had lost it for good, but then the good graces of my ass found it. It’s got me giddy inside and I know ‘Blow Your Mind’ will do just that this year. What a song for the lady.
With a name like Follow Me, I was instantly turned off. The name sounds like a gimmick, and like every other crave fame musician they pitched my SoundCloud inbox where all I needed it was in my dropbox (sorry, the name made me bring it up). But besides their dated marketing techniques, Follow Me has got a sound that I’m so into right now.
One of their latest singles, ‘Somethin’ Bout You,’ starts off like a dream with repitched vocals that now seem standard on this blog. Once the deep chords hit however, this new style of soul drops to vast new levels.
Just Kiddin’s ‘The One’ stays consistent with the beat and doesn’t vary too much. It also doesn’t rely too heavily on vocals, but just the few stems sampled bring the needed high to this one – hits around two and half minutes in.
This is such a tease. I hate when producers take classic songs and cut up the vocals to deprive me of the singer’s full range beauty. Yet, somehow Figgy keeps me coming back for more in his more than a remix of Ce Ce Peniston’s original, ‘Finally.’
Figgy drops her voice down low into a soul this 90’s singer wish she had back then. Reminds me of what Krono did with Aaron Smith’s Dancin, pop shit into chopped & screwed soul goodness.
Sedric’s voice is a fresh taste of something smooth and the Imaginary Friends trio compliment his soul with a bounce. Producers Jimmy Q & Benny Reiner go with a signature pattern I can’t quite name, garage-ish, and tops it off right with Sapphire Adizes’ smooth sax. The sax always gets me (wait for it).