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The Odd Future Tape, Vol. 2 (Album Review)
The Odd Future Tape, Vol. 2
Released 20 March 2012
1:01:28 in length
3.) NY (Ned Flander)
4.) Ya Know
5.) Forest Green
7.) Analog 2 / Wheels 2
9.) Snow White
11.) Real Bitch
15.) Sam (is Dead)
17.) We Got Bitches
As a stranger to Odd Future (6x) and someone that has paid attention to their career up to this point (Klonopin), we thought that doing a review like this would offer up an interesting perspective that everyone could either agree or disagree with. The album was going to be reviewed by either one of us anyways, so we thought, why not do a joint review? I hope you all enjoy this possible catastrophe of an experiment.
Track One: Hi.
Some guy named L-Boy does a skit where he roasts everybody on the tape using a bunch of four letter words. It’s everything you’d expect from the epitome of maturity that is Odd Future.
Track Two: Bitches feat. Hodgy Beats & Domo Genesis
6x: First sound I heard was the keyboard, which just so happens to play every “instrument” on this track. Now, I don’t really know dick about Odd Future outside of Tyler, so most of this is my first time hearing all of these goons. So, my first impression was that Hodgy was significantly better than Domo. That said though, Hodgy has some dumbass lines, “Let me take my scarf off, 5-4-3-2-1, bitch.” Anyone that claims Domo to be “lyrical” is blinded by their inner rebel teenager. He rhymed “canibal” with “Danimal’s”, and the link between the two is pretty goddamned dumb. Hodgy did some of this nonsense as well. Makes me think that they just picked one word and tried their damndest to rhyme it. The essence of a flow is non existent, to me. It all just sounds forced… All of it. When the song’s over, honestly, I didn’t take anything from it. And after listening to the track 5-6 times in a row, and reading the lyrics along with the audio, I can honestly say that the shitty beat that I didn’t like at first is actually better than the rapping and wordplay that the MC’s chose. It wasn’t all bad though, I liked that they let each other go in, back and forth with four bars each. There isn’t any catchy or stupid hook here. I suppose that there is some chemistry here. I noticed a trend with the first five “verses” and was upset to find that they put an end to it after that fifth; they were each saying “bitch” at least once in their verses. But in the end, the song had shitty forced rhyme schemes, shitty beat… Shitty song. Already I can tell that a real fan might be the only person to truly enjoy this one. (1.5/5)
Klo: The tape kicks off with a spiritual sequel to “AssMilk”, where, instead of Tyler and Earl, Hodgy and Domo are trading off bars. Sadly, every element of this track is inferior to its predecessor. Hodgy and Domo have neither the charisma of Tyler, nor the lyricism of Earl. Neither of them give a bad performance, but lines like “just look for the influence, I be under that bitch” and “I’m ballin’ like Benjamin, it’s all about the Benjamins” are about as good as it gets. Both of their flows are also slightly off. The beat doesn’t help save the song either, as it’s possibly the laziest one I’ve ever heard come from OF. A kick, a snare, a hi-hat, a one note bassline, and a very cheap sounding synth riff that plays every two bars. That’s it. It’s a track that’s way too lifeless, especially considering it’s the tape’s opener. (2/5)
Track Three: NY (Ned Flander) feat. Hodgy Beats & Tyler, the Creator
6x: The beat is such an upgrade when compared to the last track. I was happy to not see Domo on this track. When Tyler kicks in after the first verse, I can tell why he is their “leader.” His voice is incredibly unique, he’s extremely charismatic, and at times, pretty damn funny. What I dislike most about this track is its length; its so damn short. But more importantly, the dumbass “interlude” in between Hodgy and Tyler’s verses. The outro to the song is even worse. I know why a 16 year old suburban kid would this its hilarious, but I just don’t enjoy the weird ass, immature humor. The girls also sound fucking underage, which could very well be intentional. (2.75/5)
Klo: If the last track was an attempt to make another “AssMilk”, this track is an attempt to make another “Yonkers”. This time it goes over better, though, as dark strings and a haunting piano riff provide a nice backdrop for some horrorcore. Hodgy drops a predictable verse (long, empty rhymes with no cohesive train of thought) with a nice line here and there. Then, for no apparent reason, some woman says a bunch of stuff in Spanish. Tyler follows up an average verse that has some really fun (albeit immature) rhymes, boy. It’s one of the better beats on the record, is executed well enough, and is one of the few Tyler produced songs I see myself coming back to. The track ends with some girl poorly acting out a skit that’s not nearly as funny as it thinks it is. (3.25/5)
Track Four: Ya Know feat. The Internet
6x: Not a rap song. The lyrics are pretty corny. The melody is a touch cheesy, but not enough to really ruin anything. It’s definitely the most complex beat on the entire tape. The drums actually sound like they’re live recordings (unlikely), which automatically makes me enjoy it more. It’s pretty relaxing and definitely completely out of left field when you compare it to the rest of the tracks on this tape. In the end, I liked it. (3.5/5)
Klo: I was looking forward to The Internet’s (consisting of vocalist Syd da Kid and vocalist/producer Matt Martian) solo track on here and I was not disappointed. Maybe it’s because it’s sandwiched between a bunch of poorly produced tracks, but I really love the smooth electrojazz production on this track; the organic drums and synthesized warbles create a beautiful soundscape for the duo to sing about… getting drunk and wanting to fuck. Syd and Matt give a surprisingly nice vocal performance that fits the production well. The only thing on here that isn’t great are the lyrics, which, at best are generic, and at worst… “you know that I’m horny, baby”. The lyrics aren’t really at the forefront though, and don’t distract too much from the whimsical Friday sex sound that makes this a highlight on the tape. (4.25/5)
Track Five: Forest Green feat. Mike G
Klo: First off, Odd Future, seriously? You put the exact same song on two albums? That’s some bullshit.
6x: The shitty keyboard sound is still here, but the bass on this one is a giant step in the right direction (to pleasing me, at least). I do not like the “Hey! Hey! Hey!” that kicks in before the each of the hooks. After now I’ve heard Hodgy, Domo, Tyler and Mike G., I’d have to rank them Tyler > Mike G. > Hodgy > Domo. Mike G. sounds pretty normal and isn’t relying on the rebellious teen sense of humor to get the song out. The hook is a little clunky, but it’s Odd Future… One of my favorite lines, “My niggas thrash, I was always anti plan B,” that’s a skateboarding reference used as an entendre for birth control. As a whole, this song is pretty normal sounding and I could even imagine hearing on the radio some day. I may not have loved it, but so far, the tape is getting better as it gets rolling. (3.25/5)
Klo: In the competition for third best MC (behind Earl and Tyler), we have Hodgy, Domo and Mike G, and while Mike doesn’t have nearly the same amount of lyricism and technical ability in his raps that Hodgy or Domo does, he does have much more personality and better control over his flow, making him perhaps the most accessible rapper in OF. His pop rap tendencies and Left Brain’s enticing bass-heavy (albeit cheap-synth-coated) beat work together to create perhaps the closest thing OF has to a pop rap tune. Mike G cements the whole thing with one of the best hooks I’ve heard from OF, where he rhymes should, could and would with good and makes it catchy enough for nobody to care. A good beat, alright lyrics, chill presence, smooth personality, and an above decent hook make for one of the better songs on the record. (3.5/5)
Track Six: Lean by Hodgy Beats & Domo Genesis
6x: The sounds on this song make me think that I’m in the middle of a Pokemon battle on my Gameboy Color. I’m not into the whole “swag” shit, which gets tossed around like a Penthouse at a circle jerk. But its Hodgy and Domo, so unfortunately, there is more of this forced wordplay. Hodgy gets his in with, “Mystery is more quiet than a hipster Prius takin’ a trip to Egypt.” … And Domo, he didn’t try to outdo himself, so what he was actually saying was just some cliche dumb shit lines, “I’m in the fast lane with my foot on the pedal.” But when its all said and done, I thought that this was Domo’s best verse on the tape (maybe seconded to his bars on “Oldie). (2.75/5)
Klo: Hodgy and Domo spit over a minimalistic beat produced by Left Brain. Gee, where have I heard this song before? At least this time around the beat is better. Distorted guitar plucks, a dismal bassline, and a lack of cheap synth instrumentation make it at least somewhat more palatable than “Bitches”. The problem here are the MCs. The song starts off with Hodgy telling a some bitch to shut up. For thirty seconds. Hodgy; it’s not funny. In addition, the two best lines in the entire song are the first two lines: “If I was a dinosaur, I would be a flexasaurus / Since you don’t like what the fuck you heard, fast forward to the chorus”. After that, we get a bunch of mediocre punchlines, empty rhymes, and shaky flows. It’s filler that sounds like filler. Oh, and there’s also a really dumb outro. (2/5)
Track Seven: Analog 2 / Wheels 2 feat. Tyler, Frank Ocean & Syd da Kid
6x: I’m going to get some shit for this… But Syd’s singing on this track… Better than Frank’s. Tyler’s shit is goddamned weird and took me awhile to understand why this is even a song he’d like to do. But anyways, Frank on this track sounds like he’s not taking the shit seriously. And I really didn’t like the fake ass reggae sounding line he sings. The second half of the song is where Frank and Syd swap out on singing duties. Tyler is still here and being uncharacteristically unappealing. The beat’s change up was a downgrade, for me at least. The fake keyboard trumpets are just so lame and it’s a sound that I’d never get into, and would prefer to never have to hear it again. But in the end, I was honestly just left confused and unimpressed all around. It’s not a song that I imagined Odd Future putting out, but its not bad because they did it, it’s bad because he genuinely sounds bad. (2/5)
Klo: Tyler’s unashamedly corny teenage love fantasy ballad comes in two parts this time around. The first part (Analog 2) has some hard kicks, atmospheric synthesizers, smooth pianos, perky percussion along with dismal, toneless chant that brings down the production significantly. Tyler drops three 4 bar verses with lines such as “You can bring your bitches, I can bring my niggers”, making sure to hit that hard R as hard as he possibly can; and “I just come off as a psycho maniac when I’m performing” delivered in a sing songy tone that does not suit Tyler at all. Frank comes in with some nice vocals and makes a lame, overdone Nicki Minaj punchline.
And if you thought that the song was badly disjointed already, halfway through the song the music just drops out and a metronome ushers in the second half (Wheels 2). The beat switches up to a slower piano ballad, splattered with a terrible synthesizer that is all kinds of bad. Tyler drops some the corniest lines I’ve ever heard: “If you need a way there / I’ll ride you on my handlebars”. Syd and Frank sing in unison here, which sounds nice, but can’t justify “I can bring you to our tree house / We’ll be fucking on the rooftop”. If you like your corny love songs sappy with a extra side of sap, this one is for you. For everybody else who gets sick when they have too much sugar, skip this one. (2.5/5)
Track Eight: 50 feat. Hodgy Beats
6x: The boys are channeling their inner ODB’s here. The beat pairs well with the screamed, ridiculous, vocals. The song is goofy simply to be goofy. When you hear the hook, you know that it’s a joke, and not meant to be taken seriously.
Sock a buster in his jaw
Fuck the police, break the law
Twist your fingers up, grip your balls
If you ain’t got heart you ain’t got shit at all
So the real question is, do I think it’s funny? At times. I like that it’s completely ridiculous, but these two idiots are still jamming their verses full of forced wordplay, which takes away a lot of the humor for me. After two minutes of the shouting and in your face beat, the shit’s been played out and I’ve lost virtually all interest in the song. As I told Klonopin on my first listen, this song really sounds like they wrote and recorded this just so that they could perform it live. (2.5/5)
Klo: Damn, Hodgy is pissed on this track. I’ve never heard him with so much mic presence. Hodgy spits so furiously and so aggressively that he sounds like Lil Jon at points. His promises of violence and boasts of superiority come across as genuine; I can actually buy that he’s capable of murder.“But what about the lyrics, Klonopin?” you ask.“What about the beat?” Neither matter. The verses are passable and the beat is alright and helps the mood but I’m not really paying attention to anything but Hodgy promising to fuck you up, fuck your homies up, fuck your grandma up, and fuck your bitch up. While it’s not technically proficient or even really coherent, hearing Hodgy not sound dull is a nice change of pace. Plus it makes me want to knock a motherfucker out, so it definitely succeeds in that right. I guarantee that this song will be played at every OF concert from now on. (3.5/5)
Track Nine: Snow White feat. Hodgy & Frank Ocean
6x: Rule #1 for an average rapper: Do not use “Nas” and “Illmatic” in your opening bar unless you want to be compared to one of the greatest of all time. So in that case, in comparison, Hodgy blows asshole. More forced rhyme schemes and a hook delivered by Frank Ocean. The beat is basic but the extra cheesy keyboard sounds are missing here, so it’s a bit refreshing. Frank’s hook is much better than his first feature on the tape on “Analog 2.” When the song ends, I just keep thinking… “That’s it?” I’ve noticed by now that a lot of these tracks just don’t sound complete. (2.25/5)
Klo: This song… confuses me. Hodgy spits some decent lines (he experiments with hashtag rap, which turns out as bad as you think it would) over a drumline and a plodding bassline and some metal scratches. And then everything is interrupted by a synth pad in the chorus — a chorus consisting of three lines, sung by Frank in a vocal range of, at most, an octave: ”Snow so white, moon so bright / They’re on a playground making canines fight / Ain’t no place for my kids to go”. I understand Hodgy is rapping about OF and him being something out of a horror flick, but this chorus just doesn’t make any sense. Add to that the monotony of the beat, lines like “I felt a bitch, she let me in: welcoming” and Hodgy’s affinity for not having coherency in his verses and you get a plodding piece of filler that somehow wastes a Frank Ocean feature. (2/5)
Track Ten: Rella feat. Hodgy Beats, Domo Genesis & Tyler
6x: One of the better beats on the tape. There are a lot of electronic sounds going on that I enjoy. I was a little disappointed when I saw that this was another Hodgy and Domo track, seeing as how they’ve already had enough chances to shine. The beat was impressive for the crew and the verses that they each delivered were much better than their previous shit. Hodgy and Tyler both give my favorite verses of theirs here. Tyler’s last few bars remind me more of Tech N9ne and less of Tyler, the Creator. But really, this is a pretty good track and one of the few that I’d ever return to. (3.5/5)
Klo: When Rella first came out, I was quick to dismiss it (probably because it was OF who released it). Many, many listens later, I’m starting to dig this track. It benefits from Left Brain’s best beat on the entire tape; full of bouncy synthesizers, fast flowing synth pads, syncopated drum loops and no cheap synthesizers — all of which gives it a oddly fast-paced and cheerful feel. All MCs are on point as well. Hodgy drops 16 bars that are very playful and surprisingly coherent in nature, which is a nice change from Hodgy’s thesaurus-charged empty rhyming. Domo follows Hodgy with a verse full of punchlines, most of which don’t make me cringe. But it’s Tyler who really steals the song, who, with his charisma firing full blast, just rhymes everywhere. The last four bars are what really keep it from being a great verse though. A great beat and great verses make perhaps the most enjoyable track on this tape. (3.75/5)
Track Eleven: Real Bitch feat. Hodgy Beats, Left Brain and Taco
6x: I know its not a surprise to anyone that Left Brain is miserable on the mic and needs to stay out of the booth. But hey, honestly… Taco sucked on this track more than Left Brain’s vocals. They both brought Hodgy’s performance down. The song never really has a high point, just a series of low points, which reaches the lowest point when Left Brain’s monotone ass voice sings “Wheeeeereees myyyy bittttches aaaat?” The beat has the signature Odd Future shitty keyboard tones and some bad drum machine drums. Taco’s verse is turned up and there’s an echo effect behind the vocals, which just makes this shit sound even cheaper than usual. Not funny… (1.25/5)
Klo: Oh, just what I wanted! Hodgy, Left Brain and Taco rapping/talking about what a “real bitch” is! This is a terrible song. Hodgy spits an incredibly uninspired verse that has a pretty bad Left Eye/TLC punchline. Left Brain then starts singing “where my bitches at”, over and over, painfully off-tune. Taco is the best person on this track, and only because it’s clear that he’s not being serious, and the hyperbolic misogyny amuses me for some messed up reason. The beat can’t save this song either, as it’s nothing worth even talking about. It’s a bunch of piano chords and strings dunked into a pool of reverb. It doesn’t ever change except for Left Brain’s singing part and at that point I’m not really listening to anything but his terrible singing. Hodgy and Left Brain take turns talking what a “real bitch” is, much like a conversation two people might have while blunted. Sadly, I don’t really care about their opinions on women, so I get 0 enjoyment out of this. And after this review, I’m never listening to this shit anymore. (1.5/5)
Track Twelve: P feat. Hodgy Beats & Tyler
6x: Hey, more Hodgy! More forced rhyming! Tyler’s uniqueness outshine the living shit out of Hodgy here. The beat is a big step up from the last one. Slower, maybe a little darker. The keyboard tones aren’t set to “super cheap N64 mode” and the bass is pretty smooth. Per usual, no hooks here, some long verses — Tyler’s is quite a bit longer. Even though this is one of the songs that I haven’t disliked, I can honestly say that I would probably never put this on again. It just doesn’t offer anything outside of Tyler’s verse, which, yeah is a little more technical than normal, but its still the horror core ridden, angry teenager. (3/5)
Klo: Hodgy spits 16 with a bunch of empty multisyllablic rhymes and absolutely no coherency; he has a couple nice lines (“I spit negative just like a halogen”) and a couple… bad ones (“You niggas a bunch of squares: Madison”). But that’s alright, because this song is not about Hodgy, this song is about Tyler. Aided by Tyler’s best production on the entire tape — the haunting beat boasts a demented piano riff, static blasts and crazy synth whirls — the beat helps to create a mood for his verse, where he comes out blazing with tons of pop culture references, deranged horrorcore fare and a surprisingly high amount of technical proficiency, considering that we’re talking about Tyler here. This is the only song on here where I’m able to buy that he’s genuinely insane, especially when he starts speaking his threats in a overly calm tone. He gets bonus points for still being able to gross me out this far in with “you can smell us coming like a faggot when he hicks-up”. Oh yeah, that Spanish chick comes back and says some more random shit for the outro. (4/5)
Track Thirteen: White feat. Frank Ocean
6x: Now, I know a lot of people see Frank Ocean as the more one of the more talented members in the OF crew. I know when the Weeknd came out, a lot of people compared the two. I know tons of people enjoyed Frank’s 2011 release, Nostalgia, Ultra. That said… As a fan of many genres of music, and a big fan of R&B, honestly… Frank Ocean sounds like just another R&B singer to me. He’s certainly not bad, but I don’t see how his voice is any better than say… Trey Songz… So I would assume that all this acclaim must come from his music and/or lyrics. So I focused in on those after my first listen. The lyrics paired with the first 1:30 of the track are actually pretty good. I get it. He sounds like the standard R&B singer with some good modern production and a fresh look at lyrical topics. But if someone could please explain to me what the fuck happens at the 1:30 mark, I would greatly appreciate it. The song is a bit too short for me to completely fall in love with Frank or his style, but I see the appeal. (3.5/5)
Klo: I was looking forward to Frank Ocean’s solo on this tape and… I guess it’s alright. I was really hoping for something that would showcase his vocals, but instead he decided to make a somber, pensive ballad that sounds more and more like a contemplation of bittersweet separation from Odd Future every time I listen to it. It’s not bad, I actually rather like it, but he definitely wasn’t trying. There’s not terribly much to talk about aside from his vocals. The lyrics are okay, nothing terribly remarkable (I did like “But I forget 23 like I forget 17” a lot). The beat has a nice switch up 1:31 into the track where the quiet Rhodes chords are joined by some strings and horns. Overall, it’s a nice break from the other more OF-sounding tracks. I just wish he’d have put in more effort instead of pumping out a track where he sings for less than 90 seconds. (4/5)
Track Fourteen: Hcapd feat. Domo Genesis, Hodgy Beats & Tyler
6x: The beat is thick with bass, the higher toned keys are pretty smooth and this is officially the first beat on the entire tape that made me bob my head, almost instantly. As for the rapping… We’ve already established that I’m not big into Domo or Hodgy., but I’ve been fond of Tyler. Here however, I’m not impressed with any of them. In fact, Tyler’s verse might even be the worst on this track. He also has a hissy fit at the end of the song about how he dislikes the industry. Sorry young man, forward your whining to a real fan, because you ain’t establishing a new one here. Beat saved the shitty verses and bumped the song up for me. (2.75/5)
Klo: The second Hodgy, Domo and Tyler collaboration on the tape, and by far the worse of the two. The beat, a combination of brass hits and some really whiny synths, never changes, and it irks me for some reason. It lies on the fine line between boring and grating; not a great place to be. Domo drops a pretty okay verse (excusing “stupid swag: Paris Hilton”), nothing terribly exciting. Hodgy drops a typical verse; one full of big, empty rhymes. He drops the line “Chingy chong, I’m in Japan”, which… really? You couldn’t think of another rhyme for Cheech and Chong? Tyler drops a Tyler verse, average as average can be, complete with horrorcore lines, the number 666 and that overused pitch shift. And then he goes on a rant about how he hates the industry, which, ugh, fuck you and your attention-whore complex, Tyler. This track didn’t really give me any good reason to hate it, but it didn’t give me any good reason to care about it. I probably won’t ever play this song again after this review. (2/5)
Track Fifteen: Sam (is Dead) feat. Domo Genesis & Tyler
6x: “Hear the brass?” You mean the Casio keyboard from 1998 that you took from your older sister’s room? Yeah, I hear it. In fact, 9/10 songs feature the same six sounds that it offers. Domo is shockingly not on my nerves with his first verse. But the bridge and especially the hook are absolutely awful, “Niggas is comin’!”? It’s just bad music. It’s funny because on the song’s description here at Rap Genius, someone wrote:
Excellent production that is credited to Tyler. This dude is really stepping his game up.”
My initial response was that we must have somehow heard two different songs, because this isn’t good and certainly isn’t “excellent”, but in the end, I just realized that whoever wrote that is just a deaf idiot. (2/5)
Klo: On what sounds like a B-side off Bastard (complete with cheap rhodes piano and cheap brass), Domo and Tyler spit lines that are obviously supposed to be “deep”, and although I can see why OF fans would think this is “deep”, it just comes off as half-assed. Domo drops another unimpressive verse. In the chorus, Tyler issues a rally call to all the “misunderstood” children and shouts out “the little boy nigger with the trumpets”, making sure to hit that hard R as hard as he can. Tyler’s first verse talks about him being famous so I just tuned it out. Tyler’s second verse is alright, although it’s painfully clear that he drops the (false) Bow Wow reference so he can rhyme a lot of words together. The only thing that stuck out to me were those scratches in the bridge… all four of them. Like the previous track, I don’t really have any good reason to hate it, but it didn’t give me reason to give a damn. (2.5/5)
Track Sixteen: Doms feat. Domo Genesis
6x: Oh, damnit. Domo on his own track? Tyler’s beat isn’t bad, maybe even good. Very, very bass heavy. After ten+ listens, I’m upset that Tyler didn’t do his own thing on this track. He’s definitely better than Domo, who’s already been featured on the tape enough. However, Domo didn’t ruin anything and sounded fine. But on the other hand, it wasn’t good and just felt a bit wasted. The beat is definitely something you’d want to have on with a good system on. You really won’t get the full effect with your average headphones on. There is a weird part that just doesn’t fit and makes no sense, which is Tyler’s keys from roughly 2:30 to 2:45, they’re higher pitched and really makes the beat feel awkward. It’s just a forgettable track with some above average production to me. (3/5)
Klo: The song starts out with some nice piano chords and quiet (possibly live?) drumset instrumentation. And then Tyler just changes the fucking beat entirely into this grimey clanky drumloop laid over this monotone synth buzz. It stays exactly the same until Domo’s last four bars, where this nice piano riff comes in. And then it leaves. Almost as if Tyler is actively flipping us off with promises of good production. Well, the production doesn’t need to be great here, because it’s supposed to showcase Domo’s lyrical talent. Which is why he stalls until 1:05 into the track to start rapping. He drops 32 bars that aren’t anything better than anything else he’s done on this tape, starting with “I’m a motherfucking asshole” and ending with “and yeah, whatever”. Is he actively trying to make me hate him? The only thing I like about the track is that Domo’s flow seems to be better. In the end, it sounds like he didn’t try. This was his solo spot and he wasted it, on purpose. I suppose he just really didn’t care about what people would think about it. So I guess Domo won’t care if I give this song a shit score. (1.75/5)
Track Seventeen: We Got Bitches feat. Taco, Jasper Dolphin & Tyler
6x: Unbelievably ridiculous. It’s actually out of hand enough to make me laugh. Musically and talent wise, this is absolutely awful. But it definitely has the “so bad it’s hilarious” effect, but lacks the “so hilarious it’s good” effect. Jasper and Taco are awful. Honestly… Skip it. (0.5/5)
Klo: Well, here we go. This is OF’s signature “ignant” joint, where Taco and Jasper spew some terrible verses and Tyler drops some asinine lyrics and we all laugh with them or laugh at them. Except not. I’m not laughing this time around. I laughed with them when Taco ate chips in the middle of “Tina”. I laughed at them in the chorus to “Bitch Suck Dick”. But this time I’m not getting anything out of it. Maybe it’s because they sound like they’re trying this time around, and so it’s not funny, it’s just really sad. The chorus of “we got bitches / we got diamonds / we got cars / we got jacuzzis and your bitch be on my dick” isn’t humorous even in a so-bad-it’s-good sense; it’s not even enjoyable as parody. The beat is also rather thoughtless, full of cheap brass and cheap drums. Fuck this song. (0.5/5)
Track Eighteen: Oldie
6x: The big ass posse cut with the long awaited verse by Earl Sweatshirt. The most mature song I’ve heard any of them ever do. They picked the right beat to do this over. It’s slower, more chill and is perfect for capturing everyone’s flow. Nobody’s verse is bad. Even Frank Ocean’s isn’t bad. Jasper is the weak link, but I’m almost positive that they’re all fully aware of that as well. So for their sake, we’ll just excuse his bit. Luckily they followed him up with their reigning champ. Earl uses great rhyme schemes, flexes his lyrical ability and boasts about with his extensive vocabulary. They masterfully gave him two minutes on his own with no interruptions. Tyler gives a pretty stellar performance himself, here. And as a matter of fact, in retrospect, this is some pretty great shit all the way around. Take off assclown Jasper and you have one of the best posse cuts I’ve heard in a long time. The biggest and maybe even most exciting aspect of this track is that it’s clear that Odd Future possesses the talent and maturity that they need to advance their careers. But when You look back at the previous 16 tracks… The future is again a little bleak. (4.5/5)
Klo: The beat here is alright considering that it’s a posse cut, so I’ll skip that and run through each verse with my general opinion. Tyler’s up first, and he comes out swingin’ with a verse that could’ve come from Bastard. He drops some clever lines involving production software and some logical contradictions. Hodgy comes second. His verse is par for the course; he drops a reference to Greek mythology out of nowhere. Left Brain follows up with a surprisingly alright verse that I’m absolutely certain was ghostwritten. He sounds alright when his lines aren’t stupid and his flow is on point. Mike G is fourth and drops a palatable but mostly forgettable verse. He did bump up his technical skill considerably on this track. Domo follows up with a verse with a nice flow and a lot of rhyming, better than anything else he did on this tape. Frank comes in and drops a 16 with a smooth voice and a smooth flow. It isn’t anything incredibly impressive but it’s far more enjoyable than a good handful of the verses on here. Jasper is next and… Jasper is a fucking tool, and I’ll leave it at that. And after that, fuckin’ Earl Sweatshirt comes in out of nowhere. I thought the group was going to be a dick and only give him 8 bars like previous posse cuts, but no. They just gave him the mic and let him run with it, for almost two minutes. He rhymes like no tomorrow, his flow is much less choppy compared to his flow on Earl, and he actually has some pretty clever lines. He embarasses everybody on the entire tape with just one verse. After that Tyler comes back and spits another verse about “starting an empire” and that instead of “bitching and being mad as fuck”, I should just admit that they are, in fact, “talented and rad as fuck”. Fuck you Tyler. (4.25/5)
6x: I’m not lying when I say that I really haven’t listened to Odd Future before doing this review. Even with all of the hype and hate they get, I’ve managed to not really give enough of a shit to give them a go. I like Tyler. I like Earl. I like Frank Ocean. The Internet is interesting. Hodgy and Mike G. are tolerable. I’m not big on Domo and I genuinely dislike Jasper, Taco, and any of the other mofo’s I forgot. The production they offer, as a whole, is extremely unappealing to me. The keys that get used just sound so cheap and a lot of the times they use vocal effects that make the shit sound even cheaper. My score may end up being bad when you look at it on the grand scheme of things, but that last track, “Oldie”, really did impress me and show me that they possess potential. They’re young, they’re goofy, they have a fast growing fan base and they have 2-3 of hip hop’s brightest young stars. The potential is definitely there, but for the most part, they aren’t taking advantage of what they have. But they do manage to try pretty hard at making you think that they don’t care. So if they really don’t care, then that’s fine — they’ll end as a fad and one or two of them may go on to have a successful solo career(s). When they start giving a shit is when I’ll take notice again and be on board for more than just a review. GOLF WANG!
Klo: This tape was a really mixed bag, but could you really expect anything consistent from the Odd Future camp? For anybody who’s wondering if there was any development in the five MCs on this tape, I can say that Domo has stepped up his lyrical game. Besides that, every MC hasn’t really changed. They do have potential to be better MCs (just listen to Oldie), but for some reason they insist on never exercising that potential. And for anybody who was hoping that Odd Future would suddenly get better at producing tracks — surprise! — they still have that bizarre we’re-trying-to-sound-like-our-production-budget-was-zero sound. If you’re not a fan of that, you aren’t gonna enjoy this. Hell, even if you are a fan of that, you probably still will have trouble enjoying this. You have to really be into the youthful, don’t-give-a-fuck spirit of the group to get maximum enjoyment out of this. Although I was on the fence with the majority of this tape, Earl’s verse on Oldie did get me excited for whatever he’s got coming.
If there’s one thing this tape did right, it’s that it shows that Odd Future is still one cohesive unit, and after watching it sit at #3 on iTunes for over two days, I can say with certainty that Odd Future isn’t going away anytime soon. OFWGKTADGAFLLBBLSBFBN for life.
Whenever one of my friends tries to tell me this tape is above average, I’m just gonna link this review. Good job, niggas. .
It was gonna suck even if it was called OF MIXtape 2
1) on what other album does Forest Green appear? Im pretty certain youre wrong about that klono
2) a lot of uneccesary text here. I think both of you would be better off not writing track by track when reviewing.
Just my thoughts
Wasnt that like a compilation album with songs they perform live? The rest of the songs on that are from other OF releases as well
- 12 Odd Future Songs is a compilation of songs that came from Bastard, YelloWhite, Rolling Papers, Ali, Voyager, The Journey to the 5th Echelon, Gold, Purple Naked Ladies and Numbers. It came out 5 months before The Odd Future Tape, Vol. 2.
- Both albums sell the same exact song.
Aye I think RapGenius should have a whole section separate from the Forum and Blog just for reviews that would make it hella easier to find them and keep them relevant. 6x and Klono you both write dope reviews and if something like that happens you should definitely be in charge of it.
Anyways about the album, I think it was below average but established all of OF’s main members with their roles in the group
Tyler is just Tyler lol. He doesn’t have the lyricism of Earl or the rapping ability of Hodgy, but has like a little bit of each. I think it makes sense for him to be leader.
Earl is fucking amazing. I can’t wait for his album this year if and when it drops.
Hodgy has a good flow, but it almost seems like he’s rapping with a rhyming dictionary or some shit. Like real talk he mostly just says a bunch of random words that sound like each other
Mike G is better then I thought he would be. His flows not bad and his lyrics are aite too. For some reason he reminds me of Sir Michael Rocks from the Cool Kids.
Domo fits the stoner role. He pisses me off.
Frank Ocean has an amazing voice and some really deep shit, but tbh I was disappointed by his performance on this album.
and finally Jasper and Taco, second in trolling only to Lil B. lol
Sorry for the long ass post
PakiKid put the dots on the i’s of this review.
@ThatOnePakiKid, sub-forums is a feature that will hopefully be added sometime in the future.
Great review. One (or both) of you should review Action Bronson’s Blue Chips. .
Technically youre right Klono, but bashing them for it using it is like bashing someone for filling a greatest hits CD with old tracks. 12 Songs sampled something from each members catalogue, and Forest Green has been out for over a year (well before 12 Songs)
Yeah, but in this instance, they took a song from a mixtape, put that song for sale in a compilation, and then sold it again in a full length album down the road. Who puts a song from a compilation album on their next album? I’m just saying that devoted fans probably own two copies of the same song.
And speaking of devoted fans, if you strongly disagreed with our ratings, feel free to check out the Pitchfork review, which gave it a 7.5 (?!?) out of 10: http://pitchfork.com/reviews/albums/16421-the-of-tape-vol-2/
I thought it was a known fact that Pitchfork don´t know right from left when it comes to hip-hop music…
Jasper and Taco arent even really rappers, so their appearences on No Limit (We Got Bitches) or Waka Flocka Flame (Bitch Suck Dick) sounding beats shouldnt be taken seriously.
This isnt the album to listen if you havent heard stuff from the members other than Tyler. For Domo I suggest Under The Influence, and for Hodgy The Untitled EP or Yellow./White.
From “Bitches” you guys seem to hate Domo on anything he is on from then on, except for “Oldie” where your dickriding of Earl outweighs your hate for Jasper and Domo