joell ortiz mona lisa album torrent download Joell ortiz mona lisa album torrent download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67e2cd5edc6e0d2e • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Mona Lisa. Rap industry veteran Joell Ortiz sounds more focused than he's ever been on Mona Lisa, his full-length collaboration with Detroit beatsmith Apollo Brown. The album's title makes clear his ambitions to create a lasting work of art, and the album's production and direction aim for timelessness rather than trendiness. Brown's beats are laced with vinyl crackle, and they encompass choppy, heart-tugging strings, Portishead-like noir, and heavy, hard-edged boom-bap. Ortiz's lyrics similarly represent numerous facets of his personality. The slightly melancholy "Reflection" is an honest expression of Ortiz's desire to create, even as he comes to terms with the likelihood that his commercial success will probably never match his level of talent. His superb storytelling skills are in full display on cuts like the harrowing "That Place," wherein he discusses his hatred for having to spend time in hospitals, either to visit friends injured due to gunplay or to witness the birth of an unplanned baby. On "Decisions," he comprehensively considers a life of crime versus a rap career over a sorrowful cello sample and a booming beat. "Timberlan'd Up" (with Ortiz's former Slaughterhouse bandmate Royce da 5'9") has a gut-punching beat to match its sharp, cutting rhymes, and "Cocaine Fingertips" is more over the top in its offensiveness, yet it's clear that it's not meant to be taken so seriously. The concluding title track is, however; Ortiz passionately details his creative process, and his yearning for perfection. Immaculately crafted yet seemingly effortless, Mona Lisa is among both artists' best work. Joell Ortiz & Fred The Godson Are 2 NY Giants Of Wordplay. Listen To Their New Album. Joell Ortiz and Fred The Godson have a relationship that dates back to the earliest days of Slaughterhouse. The two skilled lyricists have been hopping on tracks together for quite some time. These New York representatives introduced their “King Kong” and “Godzilla” monikers in 2015 when Fred released The Heatmakerz-produced “Barbarians” single featuring Joell off his Contraband 2 mixtape. Then, in 2017, they unleashed their “Talk Dat” single that was still rocking Godzilla imagery. Next came the video at the top of 2018, which promised the album was on the way soon. In 2019, they have given Heads a healthy dose of that Hardcore Hip-Hop, under the aptly-titled Gorilla Glue . Fittingly, they named themselves after a popular and potent strain of marijuana. However, it also seems to allude to their earlier aliases. It’s important to note that The Heatmakerz are behind the boards for this whole album and they bring their trademark horn and vocal sample-heavy sound in spades. The duo of Rsonist and Thrilla call back to some of the sounds that they outfitted Cam’ron, Jim Jones, Juelz Santana, and the rest of The Diplomats with 15-plus years ago. The “GG Intro (No Smoke)” is a great example with its catchy, sped-up “ c’mon ” snippet chirping throughout. Nonetheless, what fans might not expect is the mega hits they sample for the last three songs on this joint. “Raw,” “Outstanding,” and “Move The Crowd” pull samples from some overt places—two of the three are right from titles of past hits of the same name. Although bold, the results are pleasing, and Gorilla Glue uses familiarity to its advantage, not unlike Meek Mill’s Championships last year. It feels like a mixtape in the best ways. The songs definitely hit and the MCs catch wreck like in was 1996. In fact, their interplay on the closing cut boasts the kind of chemistry that make this project unique. Dipset Capo Jim Jones makes a noteworthy appearance on the vocal chop flavor of “Feliz Navidad.” The Heatmakerz cut up an ill Iron Lung sample for “Murder One.” They let the whole line play once, “ 10, 9, 8, 7, 6, 5, 4, 3, 2, murder one lyric at your door, ” and then edited it down to “ murder one ” and use it to punctuate the bars of the hook. It’ll have listeners singing along by the second chorus break. Following one of the best album’s of Joell Ortiz’s career in 2018’s Mona Lisa (with Apollo Brown), he shows no signs of tapping the brakes. A video interview with Joell and Apollo (filmed in Rsonist’s Manhattan studio) is available at AFH TV . Joell ortiz mona lisa album torrent download. Lil Baby’s going in again. Still savoring his moment, Lil Baby is back with the deluxe version of his album, My Turn . The sophomore album, which debuted at No. 1 on the Billboard charts, was released in February, and spawned the hit singles “Whoa“, “Sum 2 Prove”, “Catch The Sun“, and “Grace“. Along with the 20 original tracks, the Atlanta rapper re-ups the project with 6 more including his latest release, “All In”. Guests overall include Lil Wayne, Future, Gunna, Young Thug, Lil Uzi Vert, Moneybagg Yo, 42 Dugg, and Rilo Rodriguez. Take it away, Baby. I am creating an honest wage from home 3000 Dollars/week , that is wonderful, below a year agone i used to be unemployed during a atrocious economy. I convey God on a daily basis i used to be endowed these directions and currently it’s my duty to pay it forward and share it with everybody, Here is I started… Read More. Mona Lisa. Teaming up with a soulfully minded boom-bap producer, the Brooklyn rapper shapes a warmly nostalgic album around the core tenets of East Coast hip-hop. Featured Tracks: It takes extreme dedication to the old school to keep your references on point. No self-respecting b-boy, after all, raps about data ownership, the Tide Pod Challenge, or “The Conners.” Certainly not Joell Ortiz, who’s less a golden-age hip-hop revivalist and more a hardened industry survivor. There’s a moment on “Decisions” when, in an attempt to assert his lack of interest in keeping up with fashionable young stars, Ortiz name-drops Lil Wayne. No disrespect to Weezy, who just put out his most vital album in years, but that the reference is probably about a decade out of date tells you more about Ortiz than the lyric itself. He goes on to advise listeners on where to buy their CDs, like a rap Jasper Beardly. Street-corner rhymes and grubby beats in 2018? What a time to be alive. Ortiz’ career so far has been nomadic. That his time on Dr. Dre’s Aftermath Entertainment failed to produce an album is no disgrace—the list of rappers who have struggled to hold the good doctor’s attention is long and distinguished (Rakim, for one). He hooked up with Joe Budden, Royce de 5’9”, and Kxng Crooked to form Slaughterhouse in the collective hope that the spectacle of four beaten-down rappers would be enough to gain some kind of traction. But Mona Lisa feels like Ortiz is done chasing ghosts. Dedicated to the core tenets of East Coast hip-hop, the album finds the Brooklynite incredibly content to bask in a sound as classic as the Mona Lisa in the Louvre. At just 38, he’s only a couple years older than Westside Gunn, one of the contemporary stars of cracked New York rap. Yet on Mona Lisa , Ortiz revels in his elder-statesman status. It’s as comfortable a fit as a pair of silk pajamas two sizes too big. To achieve this synthesis, you need a producer smothered in the original myths of hip-hop—a chop-up-the-soul symphonist who worships at the altar of DJ Premier. Enter Apollo Brown, the Detroit slinger of throwback boom-bap. Like Ortiz, Brown doesn’t pardon his old-fashioned proclivities, blazing a production style built on dusty samples, quick-hand scratches, and steady drum loops. With a batch of beats that sound like they came off the same production line as No Question , the equally solid joint record he put out this year with Locksmith, Mona Lisa won’t win awards for ingenuity or surprises, but it’s rarely hard on the ear. Ortiz’s affinity for Brown and this project is confirmed by how strikingly personal his writing is. The whimsical beat of “Reflection” finds Ortiz staring out onto the Hudson River, picturing the rap riches he might have achieved before peacefully reconciling with the career he has had (“My fans don’t expect me on the charts/Guess when you gifted, sometimes you rap yourself into a box”). Sometimes he uses his seniority to spin wisdom like a modern version of Ossie Davis’ Da Mayor from Do the Right Thing . After shouting out his Brooklyn roots on “Grace of God,” he unleashes a reminder of what the borough’s residents have dealt with with since time immemorial: “The police, they did the same shit y’all seeing now, ‘cept camera phones wasn’t out.” Not everything is as sweet. Ortiz sounds oafish on “Cocaine Fingertips,” which, among other things, has a vile double entendre that refers to cases of child sexual abuse by Catholic priests. Turns out he’s more Gilbert Gottfried than Action Bronson when it comes to oddball humor. Mona Lisa has few such obvious flaws, yet the album can sometimes feel overly snug. A little more tension would have been welcome—the kind that fellow mature-minded New Yorkers like Roc Marciano and Ka lean towards with their warped orchestration, or the Alchemist, with his affinity for more psychedelic sounds. But it’s hard to grumble too much about an album that speaks the eternal truths of boom-bap with such nostalgic romance. More importantly, it shows us that a clear-minded Ortiz, with no interested in proving anything to you or me, is well worth keeping around.