It's a tender hook, underpinned by the engine-like "woah, woah, woah, woah, woahs" in the background. Where the song really burns is when McCombs slides into the lilting chorus, his voice swooning to his upper register and then back again. So too in "County Line", as McCombs' voice grows ever slightly more insistent along the way. On any trip back to a place you once knew well, it can feel like every passing road sign rewinds another year in the spool, until everything becomes a little more familiar and intense. But the more you dig into the song, the more you can hear details and decisions that suggest a scary degree of pop talent. -Tom EwingĪs a man who's gone on record requesting that his tombstone read "Home at Last," Cass McCombs is no stranger to travelling, and on "County Line", he sets the scene on the road straight away: "On my way to you, old county/ Hoping nothing's changed." A long drive is what comes to mind, and the slow chug of the music fits right in with a feeling of Zen-like zoning, watching headlights drift left and right around you. ![]() If it were judged only on its visceral thrill, "212" would still be one of 2011's best, an unashamed banger in a mostly mid-tempo year. Banks uses the peaks, breakdowns, and drop-outs of Lazy Jay's bouncy "Float My Boat" to give her Minaj-style vocal-shifts some context: from sassy and chatty during the build ups to cartoon rage as the synths rear up around her at the song's end. ![]() One reason "ruin you, cunt" feels like such a payoff is that Banks spends an entire verse of quick, unshowy rapping setting up its run of vowels. "212" works because its popcraft and its shock tactics are each other's Trojan horses- concentrate on one and the other sneaks up on you. Azealia Banks' perfectly timed, sweet-voiced threat as the track drops out ("Imma ruin you, cunt") is the song's hotline to virality, its VIP pass to buzz. It's quite an achievement at this stage in the game to get noticed via dirty talk, but the first time you hear "212" that's what sticks with you. As the beat's melancholy drifts along, the 25-year-old rapper mixes his past, present, and future into a heady brew: "I don't really give a fuck, and my excuse is that I'm young/ And I'm only getting older, somebody should have told you." -David Drake But it's Drake's chorus that really gives the song its power and spurs its hedonistic internal logic. It frames some of the more evocative lyrics of the year, the best of which come from Rick Ross' middle verse, from the purple flowers burning his chest to his supremely over-the-top sexual conquests in London. The instrumental, with its atmospheric texture wedded to a memorable, addictive, slashing melodic loop, is a masterpiece of subtle confidence and understated strength that sustains through implied gesture rather than obvious show of skill. It was the year's most ubiquitous mixtape beat, dominating radio and bringing together three of hip-hop's biggest stars. What’s That Got To Do With Rock ‘n’ Roll?Īll songs written by K. Original 2013 album re-mastered with bonus tracks!ĥ. Reddick (Hangovers Happen Music ASCAP) All rights exclusively administered worldwide by Kobalt Songs Music Publishing Mastered by Justin Perkins Mystery Room Mastering – April 2022Īll songs written by K. Remixed by Wyatt Funderburk Nebulon II – March 2022ĭrums Recorded and Engineered by Landon The Blast House (Madison, WI) Geoff & Jackie’s Rad Party Pad (Portsmouth, NH) Produced, Recorded and Engineered by Wyatt Funderburkįebruary 2011 – August Nebulon II (Nashville, TN) Michael Miek Rodrigue – Lead Guitar on tracks 1, 7, 10 Josh Malia – Rhythm Guitar on tracks 2, 8 Geoff “Useless” Palmer – Back Up Vox, Rhythm Guitar ![]() Kris “Fingers” Rodgers – Back Up Vox, Keys ![]() Wyatt Funderburk – Back Up Vox, Lead and Rhythm Guitar, Bass, Keys Original 2012 Album Remixed and Remastered!
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