The Official G.O.O.D. MUSIC Presents: "Cruel Summer" Compilation LP Thread......
TheBossman
New member
choppa_style;4930276 said:I wouldn't have hated a track list that looked something like this. I think it would have been more an actual GOOD Music compilation than what we got.
1. Mercy
2. Good Friday
3. New God Flow (without Ghostface)
4. The Morning
5. Christian Dior Denim Flow
6. Cold (without DJ Khaled)
7. Old School Caddy (Hit Boy and Cudi)
8. Higher
9. Don't Look Down
10. Lord, Lord, Lord
11. Creepers
12. Bliss
13. Woopty Doo (Cyhi and Big Sean)
14. Looking for Trouble
15. See Me Now (Big Sean version)
16. Sin City
17. The One
Bonus
18. I Don't Like (Remix)
19. G.O.O.D. Music B.E.T. Awards Cypher
And they could use a pic like this as the basis for the cover instead of the naked chick statue that didn't make any sense.
that would be a great mixtape.....
TheBossman
New member
SiriuslyHiii;4931740 said:
like i said before, pusha t and cyhi stock went way up from this album. plus the success of big sean's detriot mixtape. i expect some hot albums from the G.O.O.D. music label next year.
and i fully expect (wishing) for an mos def album also.......
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choppa_style
New member
TheBossman;4931910 said:
Yeah I've definitely been sleeping on Cyhi.
And I just realized a Mos album on GOOD could be incredible with Kanye producing it. It hopefully wouldn't be some left field ultra poetic shit like The Ecstatic.
StillFaggyAF
New member
The Morning should be the next single
StillFaggyAF
New member
Damn Son;4935822 said:
yeah i heard, i don't how true it is tho
“To The World” - Reminds me of Lift off, but not as good.
“Clique” Catchy song, one of the better new songs.
“Mercy” The song showed promise for the album, but sadly this song ends up summing the album as what it is.......overproduced and underwhelming.
“New God Flow” - Best song on the album, Pusha T stole the show.
“The Morning” - Dope, A lot of artists but it wasn't that epic.
“Cold” It was okay.
“Higher” Not really a fan of Dream, didn't like the direction of the song.
“Sin City” Not feeling Travis, but overall I liked it.
”The One” Boring song.
“Creepers” first time I heard this song i was pretty high and i laughed my ass off. Catchy, but in a bad way.
“Bliss” This song made me laugh a little bit, teyana singing, the eagle and the dated beat.
“Don’t Like (Remix)” - It doesn't make sense to put this on the album.
Truth be told this doesn't deserve to be called Cruel Summer, They gave us Mercy in the spring and made us wait for something that should of been an epic compliation.
“Clique” Catchy song, one of the better new songs.
“Mercy” The song showed promise for the album, but sadly this song ends up summing the album as what it is.......overproduced and underwhelming.
“New God Flow” - Best song on the album, Pusha T stole the show.
“The Morning” - Dope, A lot of artists but it wasn't that epic.
“Cold” It was okay.
“Higher” Not really a fan of Dream, didn't like the direction of the song.
“Sin City” Not feeling Travis, but overall I liked it.
”The One” Boring song.
“Creepers” first time I heard this song i was pretty high and i laughed my ass off. Catchy, but in a bad way.
“Bliss” This song made me laugh a little bit, teyana singing, the eagle and the dated beat.
“Don’t Like (Remix)” - It doesn't make sense to put this on the album.
Truth be told this doesn't deserve to be called Cruel Summer, They gave us Mercy in the spring and made us wait for something that should of been an epic compliation.
goodlookinout
New member
Clique and Higher I bumps
DarthRozay
New member
SiriuslyHiii;4936350 said:
sell* lmao how do you keep mixing the two up?
Lebong James
New member
"It's time to stop acting like G.O.O.D. Music's album isn't amazing.
Let’s get right to it: Cruel Summer is the best rap album of 2012. From mixtapes to majors, no other release has been more exciting, more emphatic, or more fun to discuss. It’s all we’ve cared about since this fateful tweet last October, and it delivers on every expectation we could’ve had.
Sure, we spun the hell out of Ab-Soul’s Control System and even pretended like Rick Ross wasn’t spitting the exact same verse over and over just so we could tolerate being in the club. But come clean: Nas rapping about his daughter’s crazy prophylactics and Nicki Minaj singing about neon-colored spaceships simply doesn’t compare to the 13-track masterpiece with which the G.O.O.D Music camp blessed us mere mortals. Lyrically, musically, and artistically, Cruel Summeris a pièce de résistance for the 30-plus brilliant artists involved, whether it dropped in Summer or early Autumn. It’s OK to admit that you haven’t hit play on anything else since.
If that intro seems a little intense, it’s because I had “To The World” playing on repeat while I wrote it. It’s easy to get amped up when R. Kelly is sending his vocal cords soaring over an instrumental that could have been the official theme song of the London Olympics. But the sentiment stands: Yeezy's "ghetto opera" is filled to the brim with airtight lyricism and colorful, speaker-eating production. Everyone is rapping their ass off here.
Big Sean delivers the biggest verse of his career on “Clique,” channeling a bit of Em and a bit of Hov to hopscotch across the words “villain,” “kneeling,” “feeling,” and “filling” before we realize the beat’s changed. Pusha literally sounds like he’s hocking up a loogie when he shouts “Fuck ’em Ye!” over the “Synthetic Substitution” break—“New God Flow” is the beat he’s been waiting to rhyme on. Not to mention, the man basically promised to catch a body for the team, complete with two gunshot sound effects for good measure. 2 Chainz' “Mercy” verse is already the stuff of legend and it hasn’t aged a day in the six months we’ve been catching up to his campaign. CyHi is an easy punchline, sure, but he’s rattling off some bars on “Sin City” that we wouldn’t be surprised to hear from 'Ye or Push: “A lot of niggas see they dreams in a glass pot/Until the judge throw you in that box and watch your ass rot.” Even M-A-Dollar Sign-E went off!
That’s the whole point, isn’t it? When Kanye is delivering some of the strongest verses he’s had since Late Registration, how do you not step your shit up? There’s his third-round knockout on “Clique” (“you know white people” is half-bar of the year and needs to get meme’d up ASAP), his thrilling Scarface climax on “Mercy” (the soundtrack to demanding $50 million with a straight face), his primal scream on “New God Flow” (the quiver in his voice sounds like he’s been holding in “we can’t get along” since ’92), his blistering arrogance on “Cold” (“shut the fuck up when you talk to me” isn’t a pun, it’s a demand with no irony intended), and his victory lap on “The One.” (Be advised that Michael Phelps has officially expanded hip-hop’s “Tyson, Jordan, Jackson” triumvirate, and who better to inaugurate him?)
And, of course, there’s the most controversial rap song of the year, the sound of Trunks fighting Frieza on 61st & Normal, the only song on which Kanye could compare himself to Jesus Christ and Michael Jackson within two bars. “I Don’t Like” is a track Kanye should have written himself: the spiteful, furious war cry of every young black man in America on his third strike, the only way to end an opera this tragic and beautiful.
But despite the cast of characters (and cameos: Ghostface Killah, Raekwon, Jadakiss) and the rich script, the heart of Cruel Summerlies in the score. It was just a few short months ago that we were bewildered at that beat switch in the middle of “Mercy”—but that was child’s play compared to the twists and turns, sweeps and drops that coalesce on this white-knuckle roller-coaster of an album.
Producers as diverse as Hit-Boy, Mannie Fresh, Hudson Mohawke, Illmind and Young Chop (not to mention Travis Scott, the emerging 19-year-old rapper/producer who’s behind much of G.O.O.D’s grinding bass and choppy vocal samples) have dragged the best from all corners of the increasingly fragmented hip-hop soundscape: trap, soul, boom-bap, reggae and more all have a home on this album, often within the same song. Bass lines rattle at basement-level registers, chord changes wring emotion out of pained flows, and around every corner there’s a new melody or instrument or voice or song altogether. It’s 13 tracks that feel like 25.
Of course, shit gets weird sometimes. That’s the cost of trying something different. The-Dream’s sing-rapping may have been ill-advised. Malik's spoken word piece does sound a little mailed-in. But these hiccups don't truly detract from the whole. The raps are secondary on Cruel Summer, anyway. It's no wonder the high point is a duet between two singers.
On "Bliss,” Teyana Taylor and John Legend plead for each other over Hudson Mohawke’s glistening twist on ’80s Quiet Storm. It’s the best song on the album and a fine piece of contemporary R&B: a treasurable moment where the crew doesn’t bother to reiterate how good their music is—they simply demonstrate it."
http://www.complex.com/music/2012/09/its-okay-to-admit-that-you-love-cruel-summer
complex continues showing us that they are the biggest kanye stans around....inb4nasstansgetoutraged
Let’s get right to it: Cruel Summer is the best rap album of 2012. From mixtapes to majors, no other release has been more exciting, more emphatic, or more fun to discuss. It’s all we’ve cared about since this fateful tweet last October, and it delivers on every expectation we could’ve had.
Sure, we spun the hell out of Ab-Soul’s Control System and even pretended like Rick Ross wasn’t spitting the exact same verse over and over just so we could tolerate being in the club. But come clean: Nas rapping about his daughter’s crazy prophylactics and Nicki Minaj singing about neon-colored spaceships simply doesn’t compare to the 13-track masterpiece with which the G.O.O.D Music camp blessed us mere mortals. Lyrically, musically, and artistically, Cruel Summeris a pièce de résistance for the 30-plus brilliant artists involved, whether it dropped in Summer or early Autumn. It’s OK to admit that you haven’t hit play on anything else since.
If that intro seems a little intense, it’s because I had “To The World” playing on repeat while I wrote it. It’s easy to get amped up when R. Kelly is sending his vocal cords soaring over an instrumental that could have been the official theme song of the London Olympics. But the sentiment stands: Yeezy's "ghetto opera" is filled to the brim with airtight lyricism and colorful, speaker-eating production. Everyone is rapping their ass off here.
Big Sean delivers the biggest verse of his career on “Clique,” channeling a bit of Em and a bit of Hov to hopscotch across the words “villain,” “kneeling,” “feeling,” and “filling” before we realize the beat’s changed. Pusha literally sounds like he’s hocking up a loogie when he shouts “Fuck ’em Ye!” over the “Synthetic Substitution” break—“New God Flow” is the beat he’s been waiting to rhyme on. Not to mention, the man basically promised to catch a body for the team, complete with two gunshot sound effects for good measure. 2 Chainz' “Mercy” verse is already the stuff of legend and it hasn’t aged a day in the six months we’ve been catching up to his campaign. CyHi is an easy punchline, sure, but he’s rattling off some bars on “Sin City” that we wouldn’t be surprised to hear from 'Ye or Push: “A lot of niggas see they dreams in a glass pot/Until the judge throw you in that box and watch your ass rot.” Even M-A-Dollar Sign-E went off!
That’s the whole point, isn’t it? When Kanye is delivering some of the strongest verses he’s had since Late Registration, how do you not step your shit up? There’s his third-round knockout on “Clique” (“you know white people” is half-bar of the year and needs to get meme’d up ASAP), his thrilling Scarface climax on “Mercy” (the soundtrack to demanding $50 million with a straight face), his primal scream on “New God Flow” (the quiver in his voice sounds like he’s been holding in “we can’t get along” since ’92), his blistering arrogance on “Cold” (“shut the fuck up when you talk to me” isn’t a pun, it’s a demand with no irony intended), and his victory lap on “The One.” (Be advised that Michael Phelps has officially expanded hip-hop’s “Tyson, Jordan, Jackson” triumvirate, and who better to inaugurate him?)
And, of course, there’s the most controversial rap song of the year, the sound of Trunks fighting Frieza on 61st & Normal, the only song on which Kanye could compare himself to Jesus Christ and Michael Jackson within two bars. “I Don’t Like” is a track Kanye should have written himself: the spiteful, furious war cry of every young black man in America on his third strike, the only way to end an opera this tragic and beautiful.
But despite the cast of characters (and cameos: Ghostface Killah, Raekwon, Jadakiss) and the rich script, the heart of Cruel Summerlies in the score. It was just a few short months ago that we were bewildered at that beat switch in the middle of “Mercy”—but that was child’s play compared to the twists and turns, sweeps and drops that coalesce on this white-knuckle roller-coaster of an album.
Producers as diverse as Hit-Boy, Mannie Fresh, Hudson Mohawke, Illmind and Young Chop (not to mention Travis Scott, the emerging 19-year-old rapper/producer who’s behind much of G.O.O.D’s grinding bass and choppy vocal samples) have dragged the best from all corners of the increasingly fragmented hip-hop soundscape: trap, soul, boom-bap, reggae and more all have a home on this album, often within the same song. Bass lines rattle at basement-level registers, chord changes wring emotion out of pained flows, and around every corner there’s a new melody or instrument or voice or song altogether. It’s 13 tracks that feel like 25.
Of course, shit gets weird sometimes. That’s the cost of trying something different. The-Dream’s sing-rapping may have been ill-advised. Malik's spoken word piece does sound a little mailed-in. But these hiccups don't truly detract from the whole. The raps are secondary on Cruel Summer, anyway. It's no wonder the high point is a duet between two singers.
On "Bliss,” Teyana Taylor and John Legend plead for each other over Hudson Mohawke’s glistening twist on ’80s Quiet Storm. It’s the best song on the album and a fine piece of contemporary R&B: a treasurable moment where the crew doesn’t bother to reiterate how good their music is—they simply demonstrate it."
http://www.complex.com/music/2012/09/its-okay-to-admit-that-you-love-cruel-summer
complex continues showing us that they are the biggest kanye stans around....inb4nasstansgetoutraged
rapmastermind
New member
200k + is pretty good for a compilation in this era. I guess people are more disappointed with the length and that's a legitimate criticism. But when you take a step back, Ye wasn't just trying to make the typical compilation which is just a collection of songs. He really tried to make an ALBUM that just so happens to be a compilation. For that I give him props. The album is not bad but it's not great either.
RichPorterOfTheIC
New member
Lebong James;4942356 said:
editor in chief of complex is known to be 1 of kanye's close friend's.
