Vince staples summertime 06 leak Continue By the end of 2015 we can call it the year hip-hop has reached its peak. Not for his greatness, which he lacks, but for his pure variety. If you want to sulk in the shadows, listen to the last earley. want to show my unbridled joy, Cherry bomb for you. To wallow in the opus of black socio-political culture to pimp a butterfly fills that void. And now, with his debut album, Vince Staples weaves a tale documenting LIFE Los Angeles as a black millennial. At the heart of the prototype rap album Gangsta; armed violence, oppression, bad, and the drug trash landscape. On the outside, though, Summertime '06 is defiantly personal, like reality, flaws and all, siing stitches. Learning from the people closest to him, Staples, aged just 21, saw much of Compton's street life, being subjected to murder, imprisonment and gang life, he was once a Creep. Purely by accident, Kendrick Lamar's life aimed at revealing the butterfly is the exact one Staples lived in the summer of '06. And where Lamar gave the answers, Staples delivers context. Set with a production that will make city streets earthquake, shiver, and spew sewage bubbling under, Summertime '06 comes loaded as Smith and Wesson prepare for a hot night under the setting sun of Long Beach. Intro, with a meandering beat obscures the chirping of seagulls, sets this scene. It's eerie and ominous as the coming storm looming forward sounds from the launch shot. In that there is (unfortunately) no narrative concept beyond Summertime '06, despite its presumptuous title, you can take it in a much more believable direction, with each track filling the soundtrack to life on the streets through the sound systems passing by it. Every song here, as Feefo from DeadEndHipHop would say, strikes in the whip, not just for its sonic approach, but one that is witnessing the events surrounding it while rolling to four depths. The tag lines become synonymous with headlines unfolding, they find another dead body in the alley (Birds and Bees), Man Down, Downey Ave and Get Shaded (Norf Norf), and selling cocaine with my dad from Days Inn (Get Paid) all enjoy realism. Streetwalkers pull out Staples' lewd remarks on Locke, while drug dealers are placed on the corners of a cue dopeman, and posers are acting street punks. Everything inside, contained in his own breath, never seeps, except this album, out of town. Aside from the content that drives the album, another thing that makes it completely Long Beach is the language. Highly characteristic, deep-rooted slang bubbles on the surface of each song. The Staples verb gets gnarled through a blender of intoxicated tones, phrases and stretching that almost puts Big Boi, Big K.R.I.T. and the whole south of shame. She has to. heard, but tracks like '3230' offer up clear lingo sounds for those not from the area. Opening lines, Hittin 'corners, thuggin' with an air blower, barrel louder than the engine, keep the engine runnin' when the run on I, the other day in sunny California flows like a crash-course over hard, West Coast beats. twang benefits Staples' high voice as he easily mashs words together to turn modest bars into decorated collages worthy of a small amount. On songs such as Jump Off The Roof his lines bleed into each other, the words endlessly hyphenated, just as the fervor of the dream went off the rails. Staples's lyrics and stream offer a plentiful amount of variety compared to the usually one-dimensional patterns of gangster rap. Some, like Senorita, flip things to absurdist levels of Migos, taking off the triple stream with precision, while others, like Hang N' Bang, struggle to perform already outdated repetitive rhyme cycles, confirming this true litany of times. The pitfalls of Staples's lyrical tenacity are too crayons to explain, though, moments often arise that attract the ear of its diversity. 'Like It Is' is a suddenly uttered word segments tempting, just like Surf's' hollow, space-filled verses. What can't be forgiven are the choruses, easily Summertime's '06 biggest detractors. Too often Staples relies on redundant hooks that carry a singular phrase without much appeal, with a handful of tracks losing some of their playback ability due to this overuse. The best ones, like Surf, leave the choruses for others, in this case Kilo Kish, which is a comprehensive track with Staples not trying to do it all. Despite the fact that it is a future specimen, Senorita works in much the same way, lifting the track itself through a unique mixture of The West Coast and the South. With tracks like the two previously mentioned scoured during Summertime '06 it's a shock Staples has managed to make a consistent piece as the changes made throughout will honestly put any other gangsta rap record a shame. Never will you see a Southern banger pitched against the automatic tune of an extended love ballad inspired by Kanye Lost In The World, but that's exactly how Disc 1 ends. Contrasts in everything paralyze. These successive perpendicular grids are so good thanks to No.D. and production team. Aside from a few unexploded shells, as you'd expect on a 20-song double album, beats snousing with reckless abandon as the famed internet-age banger concoctionist do his best to work out the world surrounding Vince Staples, bringing the sound that surrounds the country. It's not hard to see the impact of Dr.Dre (Lift Me Up) or every Kanye West era (Jump from the roof, maybe wrong), but dash El-P (Like it) and the south (Senorita) flicker in picture as well. Summer time '06 seems to underline the resounding musical pride at the local level as it demonstrates the globalization of music in the Internet age. The choice of manufacturers can confirm this; No I.D. representatives of Chicago, DJ Dahi West Coast, Clams Casino East. Brevity makes me talk only about a couple of standouts, despite their majority. 'Dopeman' recalls the opening of 'm.A.A.d City' with a sturdy vocal prompt before a crippling bass erupts that covers the entire track, while clams Casino inverts the drum loop, echoing it on The Surf, and C.N.B. takes a wobbly piano into a ditch with a steam run on its side of the road. As someone who usually looks down on Gangsta rap for his traditional approach to production, structure and content, Summertime '06 is a wonderful breath of fresh air, all staying true to the streets that lifted him. There are spots here and there, for one first disc noticeably superior to the second with every potential track filler occupying the latter, but the overwhelming commitment to integrity and talent makes Vince Staples's debut album one to behold. As Earl Sweatshirt casually mutters on drive two ghostly introductions, I'm a mothafuckin' legend, the title can't satisfy Staples' statement better, not coincidentally coming after emotionless shots. And, more importantly, after a grim summer wreck forging itself into a love song with someone who doesn't believe that such a thing exists. This is Summertime's strongest song '06 for its sheer courage, which is afraid of not what those around him think, and, for a moment, allows Staples to passionately express his true feelings for his hopes of love and lost friends he experienced in the summer of 2006. As you no doubt know, if you follow DJBooth, Vince Staples released his main debut album label last week. Titled Summertime '06 and spanning two discs, the album was as expansive as it was well regarded. Don't look now, but the album has an account of 88 on Metacritic, a site that aggregates the opinions of the most respected writers of the Internet. The score is like that points to almost universal recognition and is on par with such esteemed classics as JAY's The Blueprint and Ghostface's Fishscale. Hell, he's better than college dropouts on point. While it is true that these ratings are only subjective (and most likely hastily framed) opinions about the artwork, the score as of 88 is still impressive. Unfortunately, it would seem that the vast majority of the population did not experience this obvious experience from the Long Beach phenomenon, because the album reportedly failed to exceed 5,000 sales in the first week. This information is mainly related to the sales monitoring site Hits Daily Double, which rounded out the top 50 albums of the week by the number of sales, noticeably Daylight saving time '06 is on his list. Through a bit of common sense, one could only assume that Vince Staples sold under 5,413 copies of the current #50 (Alabama Shakes) moved. BUT DID HE?!? Of course, even along with the critical acclaim, his Troy Ave-esque sales are pretty underwhelming for a major label artist. The strange part? No one seems to be able to confirm its actual amount. Even Vince didn't seem sure when he took to Twitter.With streaming, shopping, leaks, downloads and listening all becoming more interconnected, it's hard to pay so much attention to actual album sales. Again, fewer than 5,000 physical and digital units sold are pretty low, especially for someone backed by Def Jam. Then again, his iTunes pre-orders seem to be even stronger. Whether or not Vince Staples sold more or less 5,000 copies of his debut we can't confirm.