‘Delta Dawn’ is always going to be a great song,” Tucker told Rolling Stone. “Good music is good, no matter what year, what generation. But it’s “Bring My Flowers Now,” about gathering those rosebuds while ye may, that is the album’s apex. “Mustang Ridge” and “The Wheels of Laredo” nod to her Texas heritage, and “I Don’t Owe You Anything” finds her playing the badass to the hilt. Instead, co-producers Brandi Carlile and Shooter Jennings challenged Tucker, throwing a cover of Miranda Lambert’s “The House That Built Me” at her, along with a wealth of brand-new songs written especially for the 61-year-old by Carlile and twin brothers Phil and Tim Hanseroth. (It also netted her four Grammy nominations of her own.) A concise 35 minutes, the LP captures the outlaw essence of the one-time teenage star without resting on past laurels - there’s no “Delta Dawn” remake here. But by the end you’re glad they went for it all.Īlthough Tucker hates to refer to it as such, her “comeback” album couldn’t have turned out any better - While I’m Livin’ featurs 10 expertly chosen songs, two Grammy-winning producers, and one unmistakable voice. It’s by turns beautiful, catchy, a bit much. Coldplay throw everything into the mix and bind it all together with Martin’s gift for melody and earnest humanism: lyrics about police violence, guns being everywhere, missile strikes in Syria.
#JUICE WRLD DEATH RACE TO LOVE TORRENT PLUS#
Just let it flood through.” Flood it did: Everyday Life is a double album that brings together giant singalong choruses, Persian poetry, watery balladry, protest folk, Sufi qawwali, laid-back gospel, and production from Max Martin (alongside longtime Coldplay producer Rik Simpson and the Dream Team), plus guest spots from Fela Kuti’s son and grandson, the Belgian rapper-singer Stromae, the London Voice Choir, and Martin’s son, Moses, who co-wrote the single “Orphans.” (How all-over-the-place is it? Martin cited Paul Simon and Rammstein as big influences.) And yet the whole thing works, in part because there’s an audible lack of self-consciousness. “The thing we’ve done with this album is like, ‘Fuck it,’ ” Chris Martin told Rolling Stone ’s Jann Wenner about Coldplay’s eighth LP. “I feel like is one of the first people I’ve worked with personally who never runs out.” “Certain people freestyle for a while and then run out of things to say,” explained producer Hit-Boy, who worked closely on Death Race for Love. “I have songs for the trap house, songs for the sock hop, songs for the Caribbeans, songs for raves, songs for slow dancing.” Some artists sound awkward when they are attempting to prove their range that’s not a problem for Juice WRLD. “People say that they can hear the rock influence, the Blink-182 influence, the emo influence in my music, but on this album you can hear ev-er-y-thing,” Juice WRLD told Rolling Stone. On his sophomore album, the Chicago rapper-singer is intent on demonstrating his versatility, trying his hand at steroidal SoundCloud rap (“Syphilis”), reverent R&B (“Demonz Interlude”), and global dance hits (“Hear Me Calling”).
#JUICE WRLD DEATH RACE TO LOVE TORRENT FULL#
Juice WRLD broke out with hits full of mournful guitar, self-involved lyrics sketching romantic torment, and vocals from the school of why-croon-if-you-can-wail. Rico lyrically admits what’s sonically unfolding: “Had a lot of built-up anger that I had to let out.” Her fury helped secure her spot in hip-hop, but it’s far from her only story. On “Cheat Code” she proclaims, “I can never wait on a nigga to come save me,” and on the “Dirt Off Your Shoulder”–sampling “Hatin,” she builds a chorus around the sage advice, “You know these niggas be hatin’ on bitches/You got your own shit, you ain’t ever gotta listen to him, girl.” But as the project progresses, the enmity begins to dissipate and the high-octane beats become more reflective. Over jagged and intense beats, Rico screamed, screeched, and yelped about everything she’s had to fight for and against on her path to rap stardom: the men who tried to control her, the people who desperately wanted to hold her back, fake relatives, copycat rappers, and the spoils that come along with never relenting.
The anger inherent in Anger Management - a collaborative project with producer Kenny Beats - was more accurately a righteous fury. Across 18 minutes and nine songs, Maryland rapper Rico Nasty boiled over.