Free Bobby Shmurda. Free Rowdy Rebel. Free GS9.
An introduction by any other set of words seems, to the author, crass. Uncomfortable as the truth might be, it cannot be ignored. The current state of incarceration for the above entertainers is a matter of fact and, as was terribly typical of two-thousand and fourteen, riddled with complexity. If for no other reason, then, GS9 filled a void: uncompromised entertainment. In the viral vacuum where the video for "Hot N*gga," exists, only one trait is of important. The tune is meant to be anthemic, nothing more and nothing less; or so the song's stars explained on Ebro in the Morning.
Under the guise of honesty, res ipsa loquitur. More important, though, laissez les bons temps rouler. Wylin' is rarely wistful
The song is difficult to presumptuously parse. A reason must exist for why "Hot N*gga" boils blood pressures. With content that is neither deep nor necessarily heavy, Shmurda is granted the opportunity to effortlessly guide listeners through the beat, relying primarily on youthful exuberance. The main rhythm is aggressive. Constructed simply by a kick/snare foundation, however, Jahlil Beats makes sure the groove is not obscured. The only elaborate percussive element are sedate, hi-hat triplets distinct from drill or trap tracks. Similarly, the melody is direct. With a synth, air horn, and vocal sample the run's primary elements are slim. Hardly is there flamboyance beyond the performance itself.
If for no other reason, dancing frequently follows.
Assorted remixes, however, tell different tale; one of more tapered success. Follow-up projects have been inconsistent. But as French Montana showed, a winning strategy need not be convoluted. Sometimes all it takes is a line not unlike, "Pull up La Marina is a yacht n*gga / Skate off like a pirate with yo thot n*gga." Such was the case on the very good Gunplay freestyle, too, where Don Logan even gives a nod to the original with, "When a n*gga slide whole hood said they heard I did it / Threw the throwaways in the air like a Shmurda fitted." The rugged and raspy G Herbo gave the track some Chicago flare, but paying homage to a comrade presently doing twenty years for sticking to the code speaks to the common experience the song strikes at.
This is the most sensible approach: add a verse. An artist is able to establish relevance and legitimacy without impacting the track's quality. Not only is the original work's legacy richer with new textiles, but so is the vibrant quilt of intertwined culture it has already joined. Look no further than the excellent Modmon remix featuring Popcaan, Mavado, and Junior Reid. In spite of dancehall deliveries, the song does not change. The culture is universal. But it is for this reason that genre remixes do not work as well. Whether footwork or otherwise, attempts have been made to build off the original's cache. The idea is that a intersecting audience can be found by simply converting the song into a style it was not intended to be.
Regardless, the song (available for download) makes a noteworthy attempt at doing just that. Rather than converting Shmurda's banger, though, dj kingfo0xx opts to adapt it. Introduction retained, the dj allows listeners to be eased into a very fast batida. In the span of four bars, the Black 'n' Power Beats producer presents the two interchanging sections; the first providing eventual fodder for the verse. While bass is indebted to kuduro, this precise relationship eases the transition into the snare heavy rhythm. Syncopation is further found from typical sources. In addition, Jahlil Beat's vocal sample is kept and used harmonically; above a four-beat synth melody. The second section merely drops the additional percussion, as well as the synth synth, introducing in their place an altered hi-hat element. Surely, the beat-maker is technically proficient. But the track's greatest success is in inactivity. Shmurda's rapping is allowed while a new rhythm simply allows it be played in a new setting.
The story continues
- John Noggle
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