four feet alien and he will let you have it (fabo appreciation post)

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Honest question for all you real blog heads: How the hell did 2$ Fabo’s We Amongst U not become a ubiquitous ass motherfucking mixtape? To me this tape should have been to Atlanta what Danny Brown’s XXX was to Detroit, except instead of adderall-addled desperation and grime idolatry Fabo rapped like he pissed mollywater and shitted moon rocks (both in the “drugs” sense and in the “Fabo was an alien who lived on the moon and ate and therefore also shitted moon rocks” sense). Fabo had been left for dead by the industry after his D4L days (which cannot be discounted, because D4L were the fucking shit), and We Amongst U should have been his comeback. He managed to meld absurdist party music with a couple “oh shit your actions have consequences” comedown songs that hit you right in the hangover, PLUS he rounded shit out with the honest-to-gosh funk song “Keep Your Mind On Dat,” the most amazing left turn straight into the old school on a rap record since Petey Pablo fucked around and made the final quarter of his second album all gospel. Point is, Fabo has never been a human being, but he was perhaps less of a human being than any rapper has ever been on We Amongst U.

And goddamn man, Fabo really rapped his ass off on this shit. He was melodic, hilarious, heartfelt, and menacing, usually all at once. One thing that really bums me out about rapping as a technical exercise is when dudes confuse the act of rapping well with, like, actually saying something. And the more words you jam into a verse, the greater chance that you’re going to end up embarrassing yourself by saying a corny line or espousing a dumb worldview. Which isn’t to say that Fabo is dropping knowledge or anything here, but he definitely shows a really impressive technical range without ever saying an embarrassing line. And when he does get serious on “How the Fuck Did I Get Here,” the gravitas feels earned, unlike way too many rappers for whom self-seriousness is their default demeanor. Topics broached on this tape include: Doing drugs, being from outer space, being a robot, doing so many drugs that you nearly die, doing so many drugs that you end up becoming a totally different person, being abducted by aliens, why you shouldn’t grow up too fast and the world is a harsh place, etc. Shouts out to Meaghan who wrote about why We Amongst U was the shit back when it dropped, WHERE WERE THE REST OF US WE FUCKED UP BRO WHY ISN’T FABO PLAYING THE RAP STAGE OF EVERY ELECTRIC ZOO OR WHICHEVER EDM FESTIVAL HAS A RAP STAGE I FORGOT

Anyways here are a bunch of good songs from the tape, if for some reason I am ever invited to DJ a Ham on Everything, I’m gonna play all Fabo until they knock me out with a Thrasher hoodie soaked in Chloroform.

bowl is life

Seriously “Share No Blunts” is like the most thunderous shit bro, like I think I might cry every time the hook hits, or at least really rhythmically roll a j while nodding my head lookin like the total jobless goofball I am.

Speaking of rolling stuff—the most narc I have ever felt is when me and a friend who shall remain nameless tried and failed to roll a blunt for Mike Jones while we were in the studio with him. As a result I decided to get really fucking good at rolling joints so I would never look like a narc again. EXCEPT, recently I was at a shoot and someone gave me a bag of weed to roll a joint with and I was so nervous that my hands were shaking and I ended up rolling the loosest most terrible joint of all time. This, along with liking Yung Lean, is my greatest shame. Now I will be able to write whatever my version of The Life of Pablo is. Which would be, oh, I don’t know, a really good Soulja Boy profile or something.

got game like jesus

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For all the ::extremely Don Trump voice:: haters and losers who inexplicably care about my music taste, or at least peeped my Pazz and Jop ballot to check out how much of a hater and loser I am, you perhaps, maybe, potentially have some sort of inkling that I extremely heavily fuck with YFN Lucci, a hip-hop guy out of Atlanta who kinda sounds like like Young Dro doing Skooly’s crooked crooner thing. As a huge fan of Dro and Skooly I would have been hooked from the first time I heard his voice, but his 2015 tape Wish Me Well blew me the fuck away. It was stuffed with this whole world-weary vibe, like Lucci had just walked through a desert with all his chains on just to tell you something extremely important. And despite some serious knowledge from the real heads (i.e., my mans Kyle Kramer at Noisey put me onto him originally, plus the one time I ever had a conversation with Brodinski he was telling me how much he’d wigged out over Wish Me Well) it really feels like the indie music press has unjustly overlooked dude—Fader and Pitchfork haven’t posted about him, and Complex has only done one thing about him, which was a premiere for a redux of his Skooly collab “Wonder Why,” with Skooly mysteriously scrubbed from the track and replaced with Yo Gotti. And it’s not like Wish Me Well was an inconsequential tape! It featured Rich Homie Quan and Johnny Cinco plus had a Sonny Digital beat on it, it did numbers on Livemixtapes and DatPiff, AND I’m like vaguely certain he got radio spins in the ATL. So why was no one writing about him? Because there is no god*, that’s why.

Maybe that will stop now that Lucci has dropped Wish Me Well 2, (duh) the sequel to Wish Me Well. Much like most good street-rap mixtape sequel, it replicates the basic sonic template of its predecessor, but it’s mixed way better, there are more high-profile guests, and the songs aren’t quite as good. Still. Broh. Brah. Bruh. Breh. Brih. And sometimes Bryh. You’ve GOT to check out “Key to the Streets,” specifically around the 2:30 mark, when Lucci, Migos, and Trouble start trading lines like some sort of triplicate flow We Are the World style supergroup. As he is with every song he’s on, Trouble is the unsung hero of the whole affair, acting like the quarterback of the last 90 seconds, calling dudes to the mic and dropping adlibs to egg them on. I listened to this as I was driving to a Migos show in Orange County on Friday night and I got so hype I nearly jammed my feet through the floor and started running at 75 miles an hour on some Fred Flintstone shit.

To be honest, “Key to the Streets” is barely a Lucci song, but that’s fine. If “Key to the Streets” gets you listening to the whole tape, then I’m happy. And I’d assume Lucci will be happy too, but then again I’ve never met the guy so he might not give a shit what you think.

*PLUS, I’m like 95 percent sure that Bryson Tiller robot jacked the beat from Lucci’s “Perfect” to make that wannabe Drake mansplain-trap-n-b song. Or maybe Lucci stole the beat from Bryson Tiller. In which case YFN did a way better job with it, plus Bryson Tiller’s tweets read like fortune cookies you’d pick up at Supreme.