Between 2010 and 2013, Logic released four free mixtapes online and funded his own tours, through which he built his fanbase and reputation.[1][2] According to Logic, the largest contributing factor to his rise to stardom was that he "hit the road and actually saw [the fans] face to face and shook their hands."[3] He signed with Def Jam five months after the release of his Young Sinatra mixtape in 2011; a deal kept secret until 2013 because he "didn't want the fans to be like, 'Oh, he's going to change!'"[4] Logic has metaphorically described Def Jam as his "bank", which does not interfere with his creative control or deal much with his publicity.[5] Visionary Music Group, an independent label run by Logic,[6] managed and funded his audio mixing, mastering, touring, and commissioning of album art.[2]
Logic Under Pressure Album Free Download
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In 2013, Logic moved to Los Angeles to work on his debut album with Def Jam's No I.D.,[2] a mentor he later compared to Yoda.[7] Several people advised Logic to make the album more personal than his mixtapes, inspiring him to write about his difficult upbringing in Gaithersburg, Maryland.[1] On the advice of Don Cannon, he chose to maintain the album's personal theme by omitting guest appearances.[8] Its title Under Pressure reflects the challenges of Logic's private life and rap career, while also referencing his belief that the album is "his diamond", as diamonds are formed by pressure.[8] His prior mixtapes had dealt heavily with his biracial heritage, but he changed his focus from race to culture on the album.[9] Rather than go "the radio route" with Under Pressure, Logic wanted to create a classic hip hop album in the style of Nas, Wu-Tang Clan, A Tribe Called Quest, Big Daddy Kane, Kanye West and Big L. To help new listeners understand that his roots lie in this music, Logic tried to make Under Pressure more consistent and more quintessentially hip hop than his mixtapes, which he found incohesive.[8][10] Although he admitted to emulating other rappers on his earlier releases, he believed that the album would finally crystallize "the sound of Logic".[7]
Eric Diep of XXL was compelled by the lyricism throughout the album, concluding with "Filled with persistent rhymes about his grind, it's a final warning that he's not going anywhere. For Logic, alleviating the pressures of critical acclaim just got easier."[31] Christopher R. Weingarten of Rolling Stone said, "This album is all surface-level, free of sharp punch lines ("I been Hungary like Budapest") or metaphors that connect."[29] In a negative review, a staff reviewer from Sputnikmusic said "It's not a verbatim copy of Kendrick's work, but it's every bit the stylistic counterfeit, and while it, along with the other mentions above, could be seen as imitations done in reverence had they been released on a free mixtape, their use on an album is no doubt a calculated effort to profit off of the ideas and work of another who did it first, in an attempt to capitalize on the ignorance of those listeners who may not know better." He did, however, continue by saying, "Outside of these disgusting faults, Logic's album isn't a bad effort at all, with few truly dull moments and good production and rapping from front to back."[30]
When Adele sings on her new album, "25," about an emotional experience so vivid that "It was just like a movie / It was just like a song," she's probably thinking of a tune by one of her idols: Roberta Flack, say, or Stevie Nicks. But for fans of this 27-year-old British singer, such a moment could only be captured by one thing: an Adele song. With her big hair and bigger voice, Adele broke out in 2008 as part of the British retro-soul craze that also included Duffy and Amy Winehouse. Her debut album, "19," spawned a hit single in "Chasing Pavements" and led to a Grammy Award for best new artist. Yet she outgrew any style or scene with the smash follow-up, "21," which presented Adele as a great crystallizer of complicated feelings, an artist writing intimately about her own life (in this case about a devastating breakup) in a way that somehow made the music feel universal. Clearly, the pressure is on to duplicate that commercial success with "25," which comes after a long period of public quiet in which Adele recovered from throat surgery and gave birth to a son (and tweeted no more than a few dozen times). "Hello," the record's brooding lead single, set a record when it was released last month, racking up 1.1 million downloads in a week. But the song's enthusiastic embrace only underscored the other, more pressing demand on the singer as she returns: that her music still provide its trademark catharsis. Put another way, Adele's fans have been waiting for years for new Adele songs to explain their experiences to them. And they get a worthy batch on "25." (Mikael Wood) Read more
On Keith Richards' first solo album in more than 20 years the Rolling Stones co-founder crafts songs using the same tools and templates he's employed throughout his creative life: blues, early rock 'n' roll, classic country & western and a pinch of reggae. You will not find a Diplo production credit or guest verse from Chance the Rapper anywhere on this album. But as Richards' reflexes suggest, the guitarist still possesses the skills to whittle a stick into a rock song if so inclined. That's a diplomatic way of saying that our hero is a creature of habit who knows what he does and doesn't like. Recent interviews suggest he's as dismissive of contemporary music as Frank Sinatra was to the sound of the Stones. (Randall Roberts) Read more 2ff7e9595c
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