Carter’s 2018 Playlist (with links @ bottom)


Below is a summary of a few of my favorite songs of 2018, as well as a 32-song playlist available on Apple Music & Spotify. Happy Holidays! LINKS IN BIO.


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Over and Over and Over” - Jack White


I’m going to go ahead and assume that, like myself before March 2018, most of you aren’t familiar with Jack White outside of “Seven Nation Army”, his anthemic 2003 hit with The White Stripes, a band he and his sister formed at the turn of the century.

One thing I’ve found to be evident since the introduction of Jack White into my musical catalog is the performers undeniable creativity.


On Boarding House Reach, White’s third solo album, the Detroit legend explores new soundscapes that include electronica, neo-funk and experimental rock. Boarding House Reach jumps all over the musical spectrum, but one song that stays true to the purist identity of rock music is “Over and Over and Over”, an overtly monotonous jam that, with the help of my favorite guitar riff of the year, grabs listeners and sucks them through their headphones into a spiral composed of a muted guitar and White’s haunting vocals.


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“Puff Daddy” - JPEGMAFIA


If you didn’t get the chance to read my “Top 10 Albums of 2018” article, you most likely didn’t see the overwhelming praise I gave Peggy’s (JPEGMAFIA) third studio album, Veteran.

Serving as a metaphorical lovechild between the production of Death Grips and the delivery of Brockhampton’s Joba, the New York prodigy has stylistically traversed the sounds of macabre, unpleasant instrumentation, while simultaneously blending a combination of crisp, easily understandable lyricism and formidable vocalization.


On “Puff Daddy” (a single released after the rollout of Veteran), Peggy explodes into the airwaves with a glitchy, rage-inducing beat, accompanying the industrial instrumental with clearly delivered bars.


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“White Label” - Nas


In June of this year, rap icons and fans alike gathered in the historic hip-hop borough of Queens for the unraveling of Nasir, a project that saw rap heavyweights Nasir Jones and Kanye West team up for a 7-track album that, on paper, was poised to be the greatest thing since sliced bread.


Did Nasir flop? That question is best left to the scientists. In my eyes, Nasir was a pleasant return to traditional sampling by Kanye West, as well as a homecoming of sorts for Nas. All debate aside, Nasir had some bangers, including “Adam and Eve”, “Not For Radio”, “Cops Shot the Kid” and today’s subject, “White Label”. I’m sure you could imagine the joy I had when I first heard this track; a politically-charged track that sees Nas tearing a Kanye sample of Sharam Shabpareh’s “Prison Song”.


In recent years, I could say without shame that I’ve been a sucker for Kanye’s brilliant production. On “White Label”, Mr. West takes a 1970’s IRANIAN POP RECORD and, like a true studio messiah, chops the damn thing to bits, grabbing the sample by its horns and riding it like a bull through hell. How’s that for an analogy? Give this banger a listen.


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“Intro” - Meek Mill


I swear on my life there is no rapper that has been as consistently solid as Meek Mill since their inception.


On Championships, the Philadelphia kingpin returns to form, putting together another heavy-hitting project. Since “Dreams & Nightmares”, Meek has bodied intro tracks, and “Intro” is no different. I mean, he samples Phil Collins smash-hit “In the Air Tonight”, so by any stretch of imagination, this track is a success from the jump.


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“Skeletons” - Travis Scott


Cactus Jack’s year in music was nothing short of a triumph on all fronts. Astroworld dominated (and continues to dominate) the charts, crushing would-be chart-toppers who dared to release within the general vicinity of Astroworld’s initial rollout.


On Travis Scott’s third studio album, the Houston wild child gracefully combined the sounds of his preceding works, all while acting as “the glue” for the impressive regiment of feature artists. “Skeletons”, the album’s 7th track, is a wonderful testament to the psychedelic, hypnotizing vibe Travis has made his niche in the game. The clanging organ keys drown out Travis’s voice, and halfway through the song, The Weeknd hops in, floating over the intergalactic instrumental with some of the glossiest vocals of the year.


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“Gonna Love Me” - Teyana Taylor


Of all the G.O.O.D. Music projects from this year, Teyana Taylor’s K.T.S.E. was by far the most pleasantly surprising. Am I saying it was the best, not really - but in a way, it almost feels like a new genre in itself: one that embraces rap-sampling in a traditional R&B sound.


“Gonna Love Me” is a beautiful love ballad that Teyana dedicates to her husband/father of her children, Sacramento Kings Small Forward Iman Shumpert. Kanye’s soothing sample of Delfonic’s “I Gave to You” glides effortlessly underneath Taylor’s incredible voice, as she sings about her loyalty to her man.


*check out the remix of this song with Raekwon, Ghostface Killah and RZA. It’s like a blast back to the 90’s.


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“1998 TRUMAN” - BROCKHAMPTON


Can anything stop the world’s greatest boyband? On iridescence, Kevin Abstract and Company gave the world a formidable intro to their second trilogy, following the SATURATION projects.


In the months leading up to the albums eventual rollout, BROCKHAMPTON released a series of singles, one of which was “1998 TRUMAN”; a speaker shaking monster of a record. Merlyn Wood shines on this track, yelling the mosh-pit inducing chorus into a microphone over a horn heavy instrumental.


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Listen, I could go on for hours, but in the interest of time, I’m going to stop here and link the playlists on Spotify and Apple Music.

ENJOY.


Apple Music:

https://itunes.apple.com/us/playlist/burbs-2018-carter-ferryman/pl.u-KVXBBaLuvqqyJe


Spotify:

https://open.spotify.com/user/raildave/playlist/23RzikKzcOxYyNP0smk7n9?si=LViNYcprSq6isA7I5Y32YQ



-Carter Ferryman-


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