It’s true that not all of ASAP’s lyrics are wholesome, relevant or coherent but he definitely uses his voice as an instrument, working with the music. The same genration that are sometimes discredited as producing lyrics of poor quality. New kids on the block you might say, bringing back what ASAP calls “the generation of the underground.” Debates over who went hardest are a given as ASAP opens with a strong verse followed Kendrick Lamar, Joey Bada$$, Yelawolf, Danny Brown, Action Bronson and Big K.R.I.T. Attempting to “take it back to the essence of the 90s,” the all stars of the Hit-Boy produced ‘1 Train’ are all up and coming rappers. Pretty Flacko justifiably gets lost in the hookless, posse cut – ‘1 Train’, which features a total of seven rappers. Opening his verse on Rocky’s rendition of a ghetto symphony: “since Rocky spit like Andre I’m gon’ kill em’ like Big Boi.” Whilst ASAP’s verse is strong, as he speaks of his life as an “outcast my whole life so I decide to spit like Andre,” it’s his comrade, ASAP Ferg, who is most memorable. Ghetto Symphony is a dark, deluxe edition track featuring Gunplay and fellow mob member ASAP Ferg. Perhaps one of the songs most memorable lyrics – this highlights ASAP’s occasional loss of himself in his own song. Schoolboy Q features, providing the subtly comedic lyric “whoopsy daisy, put a good kid in your section.80”. Moving on from “bad b*tches” in the album’s second single and a 2012 hit, ‘F**kin’ Problems’ but still in the category of female-centred songs comes ‘PMW (All I Really Need)’.
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Skrillex” credit would have been more apt. The manic dubstep hook is a perfect musical embodiment of Rocky’s plans to “f*ck being polite” and go “wild for the night”. It works in this setting though and ASAP delivers killer, catchy verses “you don’t really want that glock boy/ you don’t really wanna feel them shots boy/ you a B boy, I’m a block boy/ I’m a D boy, I’m a hot boy” which are even better when his voice is his own. Morphing his voice for the first part of both verses it displays how ASAP’s voice can get lost in the production, to the point it almost seems as if he’s competing rather than collaborating with the producer. He continues what his lead single started on one of the album’s absolute highlights – the Skrillex produced, ‘Wild For The Night’. Here ASAP implements his authentic, vocal inflections and does one of his evidently favourite things – distort his voice on the chorus. Not for the easily offended, he couples expletives with explicit recitals of behaviour such as “nose bloody from that sniffin’, your heroin addiction.” In all the grittiness of the lyrics, ASAP delivers a seamless contrast as he softly sings of living forever on the hook. Opening debut studio set with the Jim Jonsin and Rico Love produced title track, Rocky delivers his signature slick, polished vocals over a bass line heavy but minimal, melodic beat. “I don’t even like New York rappers,” says the native who’s 2011 mixtape, ‘LiveLoveA$AP’, housed chopped and screwed, spaced out, airy and bass-fuelled beats.
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Straight out of Harlem, the New York outcast who “knows high-end fashion” is often noted as not having a typical Harlem sound. ASAP took it in his stride though and shortly afterwards he released the album title track.
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Unfortunately a vicious leak link meant a mastered copy of his album hit the net a whole month before its January 15 release date. All hail the self proclaimed “pretty boy.” Not only was his outfit “in Vogue,” he’s finally delivered a diverse but solid debut album effort – ‘$AP’.