But I'm tryna tell you girl I'm in my prime
I know you think I'll never find nobody like you
I bet you'll never find nobody like me
I'm tryna tell you I'm in my prime
And I know you think you're out of my league
Say you'll never find nobody like you
But I bet you'll never find nobody like me The-Dream – Prime
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A big barrier in Terius' proposals with this girl is the pair’s habit of assuming and presuming. He’s certain of her doubts, of her self-held position above him and the girl’s understanding that The-Dream may never move on without her.
Yet the degree of certainty that Terius showcases through the words ‘think’ and ‘know’ keeps him hopeful. Sure, he has reason to be upset, he’s aware of her dismissive thoughts after all, but that’s exactly what comforts him. Her judgements are thoughts, not facts.
What’s more, Dream asserts why he’s hopeful: he’s in his prime: that’s not a judgement or a passing comment, it’s fact. And it’s the reason she might not actually be out of his league after all.
It doesn’t stop on his try at Say You Will . The influence of West’s 808s & Heartbreak is heavy over Drake’s entire canon. But the sound of Kanye’s electro-R&B is more recognisable in his earlier mixtape days, when the Canadian found solace in a rapper using the soap box of fame and controversey to vent emotionally-driven narratives.
In fact, Drake’s production styles, anchored by longtime companion Noah “40” Shebib, got the two in hot water back in 2010, when Kanye confronted the two about the similarities. Shebib recalled in a transcript from a Vibe piece:
There are more similarities between me and Ye on 808s and So Far Gone than to Thank Me Later. Ye cussed me out one day about jacking his sound. “40 I don’t think you should be in the studio right now because you might just hear my new shit and subconsciously steal my new shit and it wouldn’t even be your fault"
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A controversial persona, Zomby’s “Natalia’s Song” has earned a fair few disputes following the sample at the heart of the track.
The looping female vocal belongs to Natalia Ladygina (hence the song title), but neither her, nor the track that originally used the line were credited in Dedication’s original release. Reark, creator of the original loop called Zomby out via his Soundcloud, where he also uploaded the unedited, original master.
https://soundcloud.com/reark/natalia-original
The story goes that the original was recorded back in 2007, Zomby reached out on Myspace, offering to finish the record. The result went under several revisions, appearing on Myspace and on Mary Anne Hobbs' Radio 1 show.
After finally being credited by 4AD, the two producers seem to be on fine terms, yet Zomby remains elusive about the affair with the press. The finished result remains a standout in the producer’s discography. A simpistic dance number with enough scope and atmoshpere to distract you from who actually wrote it.
What is this?
The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.
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What is this?
The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.
To learn more about participating in the Genius Editorial project, check out the contributor guidelines.
For the fourth track on In Colour, and the first track that listeners hadn’t heard previously, Jamie dabbles in a bit of humour.
Whilst tinkering with the first xx album, the producer discovered the potential of an instrument known as the steel pan drum. You can hear them first on his debut 2011 single “Far Nearer”. Since then, they’ve become something of a motif in his discography, appearing in his remix of Rui Da Silva’s “Touch Me” as well as 2014 standalone “All Under One Roof Raving”.
Jamie explained the effect of the drum, (per Pitchfork):
You can make [the drums] sound quite melancholy […] but at the same time, it reminds me of paradise.”
However, the repetitive use of the sound has earned the producer some comical infamy, with J-xx naysayers and listeners turning his love for the instrument into something of a running joke.
https://twitter.com/skiniks/status/606259766424264705
He embraces it though, sending the steel pans in from the jump. It’s expected, it’s obvious.
Nigga gonna fuckin' book me (Carti, Cash Carti) Playboi Carti – Broke Boi
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A price for Playboi Carti’s name on your event flyer is given, $1,500. Making it look like light-work, Carti’s salary out-sums that of any broke competitor, and he insists it that’ll remain.
