Rap Latte: Tyler’s “Sticky”: A Breakdown

Summary

Toure Show Episode Summary: "Rap Latte: Tyler’s 'Sticky': A Breakdown"

Release Date: November 15, 2024

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Introduction

In this episode of the Toure Show, hosted by DCP Entertainment, Touré engages in an in-depth analysis of Tyler, the Creator's latest hit single, "Sticky." Joined by veteran hip hop journalist Torre and longtime emcee King Green, the discussion delves into the song's intricate production, lyrical prowess, and its significant impact on contemporary hip hop culture.

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1. Opening Remarks and Song Introduction

The episode begins with Torre introducing "Sticky" as a standout track from Tyler’s album Chromacopia, which both hosts acclaim as the best hip hop album of the year. Torre sets the stage for a comprehensive breakdown, highlighting the song's ascent into the top 10 charts and its appeal beyond traditional hip hop audiences.

Notable Quote:

Torre [02:00]: "This is a very likable song that I bet like most people, even if you didn't like hip hop, you'd play this song and they'd be like, 'Yo, I'm digging this. This is fun.'"

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2. Musical Composition and Production

a. Vocal Layers and Polyrhythm

The hosts admire the song's complex layering of vocals, noting the absence of traditional instruments in the initial sections. Instead, Tyler employs multiple vocal tracks to create a rich polyrhythmic texture that captivates listeners even before the beat drops.

Notable Quotes:

King Green [05:13]: "It's like, four different lines of voices are being corralled to create a sense of rhythm."

Torre [06:38]: "I think there's four different lines of voices being corralled to create a sense of rhythm. And polyrhythm. Right. And I'm already wanting to dance, even though I know the beat hasn't really come in."

b. Instrumentation and Cinematic Elements

As the song progresses, real instruments like tubas and horns are introduced, adding a cinematic flair reminiscent of early 2000s Southern hip hop. The use of a tuba alongside percussive elements creates a unique soundscape that bridges traditional and modern influences.

Notable Quotes:

Torre [26:37]: "The tuba here is kind of picking up the Grinch sound that he was using before."

Torre [28:40]: "It's the juxtaposition of the beautiful pads and this obnoxious talking... it's like glock and spiel."

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3. Lyrical Analysis

a. Wordplay and Double Entendres

Tyler's lyrics in "Sticky" are lauded for their complexity and depth. The hosts dissect lines laden with double meanings and intricate rhymes, showcasing Tyler's lyrical dexterity.

Notable Quotes:

Torre [20:18]: "There's so many layers to what 'getting sticky' means and can mean as far as like, it's getting sticky for you. It's sticky out here. Like, watch what you say. Be mindful."

Torre [21:04]: "Sticky situation, discombobulation... dripping condensation. Gotta whisper conversations."

b. Character Presentation and Flow

Tyler's ability to switch between different vocal tones and accents is highlighted as a testament to his versatility. These shifts not only enhance the narrative but also provide varying perspectives within the song.

Notable Quotes:

Torre [14:27]: "He has a low voice that comes in, a high one that's almost pitched, and then a character that's just swagged out like a pimpish Southern guy."

King Green [29:46]: "I'm the what? Yeah, speak God instead of me."

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4. Cultural and Musical Context

a. Comparisons to Contemporary Artists

The discussion draws parallels between Tyler’s innovative approach and that of other musical pioneers like Kanye West, Pharrell Williams, and Kendrick Lamar. Tyler's integration of orchestral elements and dynamic production is positioned within the broader evolution of hip hop.

Notable Quotes:

King Green [43:52]: "You remind me of Pharrell and Timbaland's whole history of bringing in sounds like chirps, babies, softer sounds, and like, putting them into a hip hop context."

Torre [42:26]: "The person that brought orchestral and cinematic textures and composition to hip hop is definitely Kanye."

b. Impact on Hip Hop

"Sticky" is recognized not just as a commercial success but also as a culturally significant piece that pushes the boundaries of hip hop. Its ability to fuse narrative storytelling with dynamic musicality sets a new standard for the genre.

Notable Quotes:

Torre [39:08]: "Kendrick and Tyler doing this is the most amazing thing in the world because you're getting narrative from the music and the words, and it's just beautiful."

Torre [45:04]: "Human voices pretending to be instruments... this song gets so much out of using multiple human voices at once."

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5. Conclusion and Final Thoughts

The episode wraps up with Torre and King Green expressing their admiration for "Sticky," emphasizing its broad appeal and artistic brilliance. They commend Tyler for his originality and ability to blend seemingly disparate elements into a cohesive and compelling track.

Notable Quotes:

Torre [45:42]: "And just the whole whistle everything. But, yeah, that's a bop. That's why it's number 10 in the top 10 in the Billboard right now."

King Green [46:38]: "I'm driving to soccer practice. I'll listen to whatever the fuck I want. It's getting sticky in his bitch."

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Closing Remarks

"Rap Latte: Tyler’s 'Sticky': A Breakdown" offers listeners a nuanced exploration of Tyler, the Creator's "Sticky," highlighting the song's innovative production, layered lyrics, and its significant role in the evolution of hip hop. Torre and King Green's expertise provides valuable insights, making this episode a must-listen for hip hop enthusiasts and music aficionados alike.

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For more episodes and insights, visit the Toure Show website at https://www.dcpofficial.com/toureshow.

Transcript

[A]

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[B]

Yep.

[A]

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[B]

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[A]

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[B]

Welcome to Rap Latte, a deeper conversation about hip hop. Hosted by me Torre, a veteran hip hop journalist and King Green, a longtime emcee. We get together every day and talk about hip hop, hot new albums, classic MCs. We're going through every aspect of this culture on a deeper level. Check out this EP about Tyler the creator's amazing new album Chromacopia, which Green and I both think is the best hip hop album of the year. Rap Latte is a podcast and a YouTube show, so check out Rap Latte on YouTube. Go to Applote to find us or listen to us on your favorite podcast app.

[A]

I'm gonna give $1 million in the bank.

[B]

Can we take a moment to just play some Tyler songs and just listen and react and luxuriate and just talk about what he's doing in these songs?

[A]

Let's definitely do this. I got. I got Sticky Up. Sticky just broke into the top 10. So let's. It just makes sense for us to talk about that.

[B]

This is the song. When I go to the album, this is the song I always start with.

[A]

For real. Like sticky, like straight to stick.

[B]

Yes. Because the energy of it, the vibe of it, the upbeatness of it. And it's very sticky. It's very. I mean, like, I don't want to like Poppy is a. Is generally a dis. But like, this is a very likable song that I bet like most people, even if you didn't like hip hop, you play them this song and they'd be like, yo, I'm digging this. This is fun.

[A]

Yeah, yeah.

[B]

It feel.

[A]

It feels ubiquitous. It feels like canon, like it's getting sticky. It feels like I said a double Dutch something. People are singing in the, in the playground. Like you're like, he's Trying to. To. To battle or. No, no. He's trying to compete with Happy Birthday and songs like that. Not, like, what's on the top charts. It's a different type of, like, angle of writing a song. It. That's why I love it. It's like, no, no, no, no, no, no. I'm trying to. I'm trying to do something that you could sing in the playgrounds and something that will be canon amongst life, not just this is hot right now in a trend.

[B]

Right, Right. Well, play the record because I'm gonna want to stop after the first couple seconds. Let's play because the beast. Now. Wait. Stop for a second already. Stop for a second. So. Yes, yes, yes. The Grinch voice I love, right? And it's a great counterpart to starting off with the high whistle, right? So we've gotten, like, the high register and the low growl. But the way that the sound of the going hey. Rises in volume throughout those first few seconds is very visual to me. Like, the kids are coming into focus as the song emerges. Because quite often a voice, usually in a song, a sound emerges at a certain volume and stays there. But sometimes the sound seems to emerge over time, and I'm like, wow. Like, it's developed. Like, I could see, like, kids, like, coming into the moment.

[A]

Yeah, that's exactly where Tyler always comes from. There's, like, a cinematic exploration and discovery that happens within Tyler's creation. You can tell that not everything, when it comes, when it came to his head, is something that he was super intentional. But when you look at it, you're like, oh, this is why I'm doing this. And things, you could tell that that's how he's putting these things together. So when that, like, he's coming into focus is the perfect statement. And even hearing that Grinch voice that you like to call it, whatever, it's like, him. It's him. It's him implementing that. This person you could see, like, this Grinch is looking at the town that's coming into focus like this. You see the town coming into focus, and it's like, no, there's some type of angst or, like, aggression that's attached to these kids that sound beautiful and serene. You know what I'm saying? It's like, don't get this twisted. You know what I'm saying? Like, it's getting sticky. It's like, it might feel sweet and might feel good, but it's also sticky. That's.

[B]

It's. Yo, it's getting sticky is like. It's. It's It's. It. It's like a black phrase in that the average person would be like, what does that mean? And like, it could be like, shit is falling apart is great. Like, we could flex it for, like, any direction we want. But, like. Like, the user, the listener will. When I say, yo, yo, green, it's getting sticky out here. You'd be like, I know what you mean. And.

[A]

Yeah.

[B]

And the next person is like, I don't know what. Right? Is it bad for bad or bad for good?

[A]

I don't know. Yeah, it's.

[B]

It's.

[A]

And it's all those things. And I love how he plays on. On how the verses play on that. Like. I mean, let's keep. Let's listen. Yeah, let's get into it some more. Popping that get you here quick, fast. Popping off and stepping on the gas. Pop that like I'm popping some gum. Who the you talking to, ho? I ain't the one that's getting sticky, sticky, sticky Getting sticky, sticky, sticky, bro. Yeah.

[B]

There's no music. We are only using different levels of voices. I think there's four different voices going on here that are creating rhythm. But no instrument yet is in the mix, right?

[A]

Yep. It's just. It's just a, hey, hey, it's getting sticky. And then the rappers. So, right, we hear the. And the whistle whistling.

[B]

We hear the growl. We hear the kids going, hey. And then the voice going. It gets so, like, four different lines of voices are being corralled to create a sense of rhythm. Right. And polyrhythm. Right. And I'm already wanting to dance, even though I know the beat hasn't really come in.

[A]

But, like, you're, like. You're, like, bouncing. You're, like, getting sticky. Like, hey, hey, you going back and forth with the polyrhythm.

[B]

He's accomplished so much without even touching an instrument yet.

[A]

Amazing. And it's just using everyone as a choir and he's the conductor.

[B]

All right, keep going.

[A]

My fist.

[B]

Line is so dope for him. I give a about pronouns.

[A]

I'm, that, I'm, that, and that.

[B]

Dope. That is dope.

[A]

That is that is that and that.

[B]

And it's like only Tyler and maybe Lil Nas X could say that or would say that. Right? Like, who else would say that line? And it's dope and it's modern.

[A]

And for it to be impactful, I think there's a certain. Without Tyler's, I think, cool factor. I don't think that line hits like that. You know, I'm saying Some people still like, if you a street dude, you looking at that negatively. If you're. If you're a dis person, you're looking at it positively. But the establishment that Tyler has put for himself, like, we all know there's a cool factor.

[B]

Let's. Yes to that one caveat. Let's not monochromize the street because we know the street knows about be a gay. Be it by da da da. Like it's not like everyone out in the street is straight.

[A]

Well, I'm talking about. I'm thinking about street dudes who are rapping. I'm not talking about actress humanity. I'm thinking about the culture. Not a lot of street dudes are outwardly rapping that they're. That they're. That they're bi. I can't name one personally.

[B]

Right. But they. But, but they are. That does.

[A]

No but, but that's humanity. That's what I'm trying to say. That's not the, that's not the front facing part of the culture. I'm saying this guy's in the front of the culture and he's the barometer.

[B]

Of cool versus interesting here to be to hear. Because before he was giving us the. The Grinch growl, but yeah, here he came in rapping in a very high register, higher than his normal. Like, why do you think he does that?

[A]

I think it's to build that excitement one Sonically, when you hear a high register, it's like almost like you're yelling. It's. You're building that excitement. Just especially the duality of that implies that it's like, it's like, yeah, yeah, you're gonna get that high register. Like we just got excited. It's getting sticky. It's about to get to that next level. So there's that. And it could even show the duality of that statement in line of I'm that and that. Know what I'm saying?

[B]

So it's like, ah, ah, yes, yes, I like that. All right, let's get back into it. But let me just note again. I love a song that starts with the chorus. This is the sort of song that gives you a little buildup, then bust into the chorus. I love that.

[A]

And this is like, this is a workout song. It's like even right now, like you could. You're like lifting weights.

[B]

This is a workout song for sure.

[A]

Very unorthodox playlist. Every time. No, I have to. Her voice is so amazing. Like her voice, her accent. Glow. Like glow. Real is just. It's just Beautiful. Like I said, right there is where I go. I'm like, yo, I'm in this ghetto double Dutch. Like there's 100 girls around and it's getting sticky. It's the. It's the best feeling in the world when that voice comes in.

[B]

So wait, now when Glow comes in, do we do have music? We do have instruments underneath her.

[A]

Yeah, I think it's just percussive. I think it's just percussive and the eight away. But let's, let's. Let's go back and listen. Lit ass bitch step niggas wrong with their emotion. I begin to cut Sticky link she say that's her nigga I don't give a fuck if these bitches trying to scrap But I'm knucking Nicki bucking hoes.

[B]

Now wait a minute, wait a minute. Both Glorilla and then later Sexy are talking about fighting chicks on. All right, that's their version about I will fight you.

[A]

I'll fight you. Like, what do you think? I mean, just let you know that's what it's about to be. What else are you supposed to talk about? It's getting sticky. Like, what do you think this is? Like, all right, but also it's. There's some type of bell instrument or percussive instrument in drums. And, and it sounds obviously like. And you could see in a video in his mask off Chromocopa copia video that he just dropped, you could see that it's like a drum line that's also playing this stuff, like actual drum members. So it's not just digital production.

[B]

She said, Sneaky link. She said, that's her. I don't give a these try to scrap but I'll duck it if you hoe. All right, let's go.

[A]

All right, let's break. Let it be say I ain't the guy they must be smoking ketamine Always talking about potential I am the better me Jack of all trades name a who ahead of me Must be God instead of me hold on.

[B]

Always talk about potential I am, I.

[A]

Am the better me Bar. I love that Bar. And let's talk about his tone and flow and voice. Like Tyler, much like Kendrick and even Drake, who you don't like, uses accents for reason. For reasons that. That are about projecting character. Some people don't understand. Some people think about accents as like, this is that person and this person. But when we've imported all these accents into the culture, they're for character. And character is for displaying a message and content. It's like, why am I speaking with this type of swag or this type of accent? It implies a certain perspective that you may have. It implies a certain intention in. In like. Like, if I'm having a draw, you know that I don't even care that much about what I'm saying. If I'm trying talking slick like I'm from New York or like, when Nicki Minaj puts on a Caribbean accent, it's to. It's an imp. To imply a certain type of cool or certain type of connection to that space or whatever they're talking about.

[B]

Wait, so what are you saying that Tyler's doing here?

[A]

He has a whole different other accent on this and flow on this verse versus the verse at. In the beginning and the verse at the end. There's so many different characters. So for him to say that I'm the better me.

[B]

He's vocally presenting different. Different characters in this record.

[A]

Yes. He has the low voice that comes in. He has the high one. It's almost pitched. And then this character is just swagged out like. Like pimpish. You know what I'm saying? He's just coming in like, I am the better me. Let's. It's. It's straight Southern guy.

[B]

They must be smoking ketamine. Like, yeah, I'm the what? Yeah, speak God instead of me.

[A]

Bars. Bars. Plus, just the whole swag on that is just amazing.

[B]

Now we're about to come into the sexy red part of the joint. And her intro into this verse is so hot. And it's just attitude. It's just energy. It's just that same vocal swag that you're talking about. Because I'm like, Glorilla kind of danced in and sexy red kind of like, ah. Like, she kind of danced in with like, more energy. Then like glow kind of was like, chill with it and sexy. Kind of like rah rah with it.

[A]

Definitely. Let's play that.

[B]

Pause for one second.

[A]

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[B]

Sexy in this bitch. Tyler in this bitch. We trying to. Bitch is mad but can't beat my ass, ho. I don't fight for my respect, bitch. I fight for D. Baby girl, I'm finna rock your shit. Okay, hold on, hold on. Are you getting the energy that she's like, in the studio dancing, and she's like, yeah. Sexy in Advent. Taller in Advent. Like, she's like, I've turned up. I'm a little drunk. I'm a lot drunk. Like, whoa. Right? Like, I get the party energy from her vibe 3,000%.

[A]

That's. That's the whole vibe. The whole track has this like, we. It's getting sticky. It feels like you're getting ready for something. And she comes in and she probably has the most party, like, swag out of everybody. You, like, just comes in floating. She's just floating on it. And it's weird because the drums almost feel off the grid, right? They're don't. They're not like, syncopated and on the grid like trap or anybody's programmed drums are. It feels like there's a swing to it and it's not hitting every single mark on a grid that would be on a daw. It feels unquantized. Right. So that means it's not on every single measure and beat. So it's going to feel more natural. Yeah, it feels natural and messy and that's what's beautiful about this. But everybody's floating on it, so it makes me wonder. This is just geek rec. Recording stuff is like, were they rapping also to a metronome when they were, like, rapping so they could stick to, like, some sort of cadence, or did they go straight to the. To the drums? I'm just. It's just mad interesting. Or was it syncopated then he took it off the grid. But it's just mad. It's amazing that it's off the grid like that.

[B]

Now let. Can we just. Can we just underline the fine point? What does it's getting sticky mean in this whole song?

[A]

I think it has two points of getting sticky, as in it's about to get crazy. Like, it could get that way. It could Go left. As in like on a street sense. Yes, on a street sense. Like it's getting sticky is like this shit all could go crazy and the switches could come out right. That's okay. That's that. That way. And then it's getting sticky. I think there is also a reference in the song to how poppy it is. Like. Like how catchy and how sticky this music can be. I think that's a direct reference or implication as well. And, and yeah, I think it goes on all layers from that to could go crazy and it's getting crazy.

[B]

All right, let's go. All right, let's. Let's hit it. Let's hit it. Let's hit the next verse.

[A]

Sticky situation, discombobulation Call me red handed Palms itching like rosation Standing like ovation on business occupation Dripping condensation Gotta whisper conversations.

[B]

Okay, hold on.

[A]

What's that last line in the lyrics? You got the lyrics in front of you. What's Wheezy's last condensation?

[B]

Gotta whisper conversations.

[A]

And that's the, that's what I'm saying about like, like it's getting sticky too. There's, there's, there's just so many layers to what, what that means and, and can mean as far as like it's getting sticky for you. It's sticky out here. Like, watch what you say. Don't, don't like be mindful. Like be mindful.

[B]

Caught me red handed Palms itching like rosacea. Which. Oh, which must be some fucking hand disease. Wayne is crazy. Wayne is crazy. Oh, shit.

[A]

What's for. We already know.

[B]

We know this. What's rosacea? And he didn't write it down. What is what Wait. Rosacea. Rosacea is a condition that causes redness. Pus filled bumps on the face. Right. So it's redness. So caught me red handed.

[A]

Yeah.

[B]

Crazy Itching like rosacea Standing like ovation on business occupation. That's a double cadre, maybe a triple. Dripping condensation Got a whisper Conversations getting sticky. I mean he's just.

[A]

That guy's crazy.

[B]

Like, you got four lines. What are you gonna say? He put it, he gave us all internal rhymes. Like, this is crazy. This line is crazy.

[A]

Sticky situation, discombobulation Standing like ovation on business occupation is insane by itself. The rosacea line. Yes. You have to search for it. And, and that's just dope because that's like the knowledge reference. Like, oh, he just said some that I gotta like go look for. Right. But the simplicity of standing like ovation on business Occupation. Come on. Like. Like, why. Why Lil Wayne? You have only four bars.

[B]

But I'm gonna blow them up. Because it's when he goes on a business occupation, on a trip, on a tour, people are gonna stand, right? But then there's also Ovation, right? The app, right? Where an artist can go and make money, right?

[A]

No, I didn't. I didn't even catch that. I was even thinking, wait, and that's what's over. No, like. Like a standing ovation. I'm just saying, like a standing ovation. So standing.

[B]

If it is a. You're saying the other entendre for sure.

[A]

Standing like ovation on business occupation.

[B]

Yeah. Ovation tv. Ovation TV is a network.

[A]

I don't know that network.

[B]

All about the art. It's all about the arts and the culture and entertainment.

[A]

So, like, that's crazy.

[B]

You. Yeah, right. But there is there a third entendre in here?

[A]

Wait, wait. We got business occupation as far as his business occupation. And then standing on business. The reference of standing on business, then standing like ovation, and you saying that. Ovation.

[B]

Standing like ovation. Standing like ovation on.

[A]

On business.

[B]

Yes, yes.

[A]

So there's that.

[B]

A triple entendre. But it's another way of understanding what he said, right? It's not really a triple.

[A]

It's not a triple. I mean, yes, it is, because it's. The whole statement means that one thing, the statement. Also, if he's saying the Ovation TV part, that's one thing, but I don't know nothing of that. Then you're like, standing like ovation is just a simile within a double entendre. So just the amount of. The amount of rhetoric, rhetorical devices in that one line is insane. It's just.

[B]

And he does it right. And he does it right.

[A]

He writes. He just doesn't put it pen to paper. He wrote that in his head. Standing like ovation on business occupation dripping condensation. Gotta whisper conversations.

[B]

And let's go to the next verse, because we're coming up on what is probably surely the best verse in the whole joint.

[A]

Mainly because he had the time. Because clearly, if Lil Wayne had more time, he'd go crazy like.

[B]

I got something.

[A]

Bitch better find a mop is getting sticky in his. Bitch better find a mop is getting sticky in his.

[B]

Hold on. So. So I love the shift here, right? It's a shift in rhythm, in tone, right? Because we were crushing the chorus, right? The girl is screaming chromacopia, which is a call back to the beginning of the Album, Right?

[A]

Yeah.

[B]

And then there's like a drop down, right? We get to like the tuba. We get a guy sit, right? And then. And then. And it's a whole. It's a different vibe. I love this. This refrain here. This, like, this is. This is. What is. What part of the song would this be? Because it's not the chorus. It's not a verse. It's a. Is this a bridge?

[A]

I mean, like you said, like a refrain or a bridge. It could be that. Because it's bridging this to the other part of the song. But yeah, it's just that simple. Because right now you've had the core. You had a intro, a chorus, a verse. Chorus, verse, chorus, verse.

[B]

Yeah.

[A]

Then a refrain, like a departure or bridge and section before turns into another verse. So. And these all different moments. This is a moment I would. I would say, because it's displaying a new moment, is displaying a whole new part of the song, which I think.

[B]

Yeah.

[A]

Which I just want to talk about. The tubas or the horns. The fact that they're real horns, which they sound like real horns. And they are mimicking like DJ too.

[B]

Grinch.

[A]

Like, I want to say Grinch. I'm talking about the style of horns used in. In. In old, like to early 2000s Southern, like hip hop music. Like something TI would rap over, like the rhythmic part of it. So it's not so much Grinch, even though that's his style that he put into that Grinch movie.

[B]

But it's. It definitely seems to be yes to what you said. But it seems to me that the tuba here is kind of picking up the Grinch sound that he was using before. And if I'm not wrong, I feel like I hear the Grinch and the tuba like here on my right ear, on the lower part. So they're like kind of like putting that in the same part of your ear. Do you hear it that way?

[A]

It seems stereo. I think there might be two different horns. Horn. Or two different horn parts in the section. Maybe one's on the right, ones on left, but it seems like it was stereo. But I'm also on these AirPods and I don't be like really critiquing that on the airpod, but. But I would say that it's more. I don't see the Grinch thing. I just feel like his cinematic arrangement mind is just in this music. But I wouldn't put anything on that. It's more. So I feel like he's applying that cinematic tone to his affinity for Southern culture and sounds when it comes to production, I think that's what's specifically happening here, which is amazing. It's that whole high, low perspective that we've had in fashion. Hip hop fashion and production is like how you bring. Let's bring cinematic things into here that Kanye did. Right? But let's make it raw and make sure there's a hot ass sample. Right? That's Kanye's perspective where he's going, nah, let's take this. Instead of having this sampled horn with these trap drums, let's take drums that we all were raised on and a rhythm that we all understand from like when we were kids. And then put these horns on here that we know from early 2000s. That is just hard. And he loves horns in general.

[B]

I love this whole. I love this moment. And now we're about to get Tyler rhyming his ass off.

[A]

Better find a mop is getting sticky in this bitch Getting sticky yeah bitch I'm outside with it Tell them I did it Allergies to bum I see you my eyes itching this shit regular, regular all this shit be regular ahead of you I'm better baby check the vehicle La Ferrari nigga sour I could 1500,000 in these tracks but at pillow talking stay away from coma a home wrecker I been who I wanna okay Big dick, big stomping through your town all the know the is going Wait, wait, wait, wait.

[B]

I was trying to get through the whole verse, but I can't. Big dick, big stomping through your town all these know the is going down that is one of the best dopest. I'm the lines in hip hop saying.

[A]

You got a big. I mean, yeah. I mean to me to be for real on the bar tip. It's like I feel like Tyler is 90% swag and delivery. Like he has the ability his. It's all the performance. 90% performance. Instead, I won't even use those words. 90% performance where it's like. And the 20% is the actual like intention. And you know, it's more so the intention than even the. The bar. Just like we know that he is. He means what he's talking about. You know what I'm saying? And then he's going to say it and deliver it to you in an interesting way. And that's why this whole verse is hot hitting every. Let's keep going, let's keep going what they talking about? I've been getting off like holiday man Put some paper paying bank accounts New ev say my name we Ain't worth the same amount. Why Ah, Louie V. Say my name. We ain't worth the same amount.

[B]

It's just all talking. I'm outside. I did it. I got a big dick. I whoever I want. I got a lot of money. What's really hood.

[A]

Like, what the the and for musically for me is like, now I have these beautiful pads under this. It's the juxtaposition of the beautiful pads and this obnoxious talking, like, get the out my face with your little money. Like, I'll. I'll all of y'all and like, what are we doing here? And then there's this beautiful pad arrangement under it's like, and I'm. What to me that signifies is like. And I'm having fun and I'm great at what I do. Like, what are we gonna do here? What are we talking about? Let's get sticky.

[B]

There's a nice shift of. Of rhyme pattern of rhyme scheme toward the end of this, right? Like. Like there's kind of like one rhyme scheme through a lot of it. And then toward the end, he kind of shifts to a different pattern, which is kind of nice completely.

[A]

And he expressed. And it's like it's part of his, his, his when he's expressing, like, his fearlessness is like. Like, he's like, fuck, what you talking about? I'm gonna do everything my way, right? And I'm getting here and it's a signal, like, it's getting sticky for all y'all out here because number one position. So it's going to be sticky for all y'all. Like, y'all not here anymore. I'm that guy. And that's what it feels like. And even when he goes into the next part, talking about better find a mob is getting sticky in this.

[B]

The holidays are here at the Home Depot. If you're working on getting ready for company, a lot of company, make sure you're ready with Black Friday savings. Get up to 40% off select appliances plus up to an extra thousand dollars.

[A]

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[A]

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[A]

All right.

[B]

Find a mop is getting sticky in.

[A]

This Better find a mop is getting sticky in this Better find a mop is getting sticky in this Better find a mopping getting sticky in this Better find a mop is getting sticky in this Better find a mop is getting sticky in this bitch Better find a mop is getting sticky in this better. It's probably just the O's, right?

[B]

Yeah. She's singing in the back, but he put her like. Yeah, like, you almost can't hear it. Like, I. I never heard it until now when I'm. Now I'm looking for it, but here to four. I never noticed it.

[A]

I noticed the vocal. Don't know it's Solange. I know. I definitely noticed a vocal, which is. Which is something that I like about the feature approach and having, like, having, like, Frank Ocean does this too. It's like, yeah, I got Beyonce doing backgrounds. You know what I'm saying?

[B]

It's like, right, right.

[A]

That's like the biggest flex in the world. It's like, well, wait a minute.

[B]

What would it even cost to put Wayne Solange, Sexy and Glow on one record?

[A]

A lot of money.

[B]

Like, if you.

[A]

If you ain't got no clout, a lot of money, right?

[B]

Like, you gotta pay each of them for that feature.

[A]

Exactly. And this is probably could be 10 to 50.

[B]

It could be 10 to $50,000 for a feature, right?

[A]

It all depends, like we're talking about. Because a lot of times when you talk about those astronomical feature prices, it's because that money's going to the label that they're on a of times. Because then that's why there's a. The paper bag feature is like, when you give somebody good 15, 20, 25, and they just take that joint and go off. But like, the 50, 100, that's because the label's getting a cut. So that's why those prices go so astronomically high. So from a label standpoint, this is easily like $300,000, right? It could be that much. Like, it easily could be that much.

[B]

I mean, these are all superstar artists. You don't usually see a record, one record with this much star power on it. And he, like. And he's, like, dotting the track with it. We Get a little Wayne, a little Red, a little glow. Barely even noticed the Solange piece, right? She's just a little garnish at the end, right? Like, you could have made a whole meal of, like, yo, look at these amazing people I got. And, like, you just dotted the track with them.

[A]

Yeah, I love that. I love. I love the, like, intention and the restraint on that. And it's not about exactly like, oh, look at. Look at this. Look at who I have on here. But more so of like, look at how I take these people and curate something that's actually special and intentional. 5.

[B]

Now this last refrain with Solange.

[A]

Yeah.

[B]

I feel like this is. This is the longest that the song has stayed still. Right? Like, the song seems to be, like, constantly growing. Like, we talked about that middle part where he's. He adds something and keeps adding, adding, adding.

[A]

Depends on what we think.

[B]

You know what I mean? And, like, when in the verses, like, the song, like, there's changing. They're changing. And then this last refrain, the song kind of stays in the same place for kind of a while, right? For like four. Right. For like four whole beats, right?

[A]

Yeah. Let's play real quick. Find a mop is getting sticky in this. That's crazy.

[B]

That is. That was the little. That was the hook. Right? That little. Right. That we would write. I mean, you could. This is a song you could totally hand to an orchestra and they could figure out, okay, strings are going to do this, horns are going to do that.

[A]

You're going to repercussions. Right, Exactly.

[B]

Right. And we could make this into an orchestra or a rock group could take this. Okay. You do the bass. You do to this. You do that. Okay, Right. We could replace. Right? Like, I mean, it's like a. Or it's like a. An orchestral song.

[A]

It's to make it. To simplify all that. It's music. Like, there's actual beats sometimes that are not real music. I've been in situations where I was in a band and we were trying to recreate a beat that an artist would have. And it's like, wait, there's. This is just a sample with so much going on that we can't really extrapolate certain things. Whereas this is easy because it's arranged and produced and composed. So it's composed music versus just like a beat maker. Just.

[B]

And there's. Yes. Quite often, I feel like hip hop musically will. Here's the beat. There's no real dynamic to it. It doesn't grow or change. A rock song or sometimes a Funk song will change drastically in the middle of the song. You know, go back, slow down, ramp up, whatever. And it has movements and valleys and dynamics. Generally a rap song state not 100% of the time, but generally a rap song has one dynamic and it stays there the whole time. And the rapper may provide.

[A]

Yeah, the rapper usually provides the emotion changes and the shifts or your. Or is drawing you in and sticking you there. Because the story is not in the music. It's usually in the. In the rap, whereas the story is in the music with most other genres and not that much in the lyrics. So this is both of them happening at the same time. And that's why when hip hop comes to this level, what Kendrick and Tyler does, it's the most amazing thing in the world because you're getting narrative from the music and the words, and it's just beautiful.

[B]

Can we mark? I just want to mark. This is something that Kanye also does, right? Oh, yeah, right.

[A]

Damn near invented it.

[B]

This is not something, right? This is something that future might do, right?

[A]

Wait, wait, wait.

[B]

Something.

[A]

What future might do with what?

[B]

But, like, give you that sort of dynamic within the song, right? Where the music will be making, right? Travis will do this, right?

[A]

Travis, but not Future.

[B]

Not Future. Okay, all right, I take that back. Where Travis will also do, right. Give you these dynamic. Jay Z not going to do this right. Drake not going to do this.

[A]

Right.

[B]

Like, and it's just like they are a bit more traditional hip hop in their approach to the music. And some of the folks we're talking about, Travis, Kanye, Tyler, real musicians, real musical thinkers who think about the music on the entirety of the sonic product in a whole different way.

[A]

Exactly. And that's my. Is like, I love that. But I. I love both of. Both of it, obviously, because, like, one of my favorite records is. Is Ice Cube. Today Was a Good Day. That's like everybody's favorite record. And that thing is in the same space. But that narrative, it makes so much sense for my. For the. For the tapestry to be this chill space and the narrative progress you through it. Whereas then I'm thinking about my favorite songs or favorite music. I'd like to say on Kendrick's To Pimp a Butterfly, other than all right are the songs where they're just. It's just so much narrative in the music, so much being told with the expressions and sounds and the linear progression of the music. Like you. You on to Pimpa Butterflies, my favorite song besides. All right on the pimple.

[B]

See the. Wait, wait, you said Cube Yeah, because of the conversation we're having. I kind of thought you were going to talk about Jack and for Beats, where he kind of does this, where the music is growing and changing beneath him, and he has to respond to that as opposed to here's a track, you know, respond to the track, right? And the track is sort of like, you know, one dynamic that was on top of it.

[A]

Yeah, that's definitely that. But I was using it as an example of a song that kind of stays the same and barely even has a chorus. You know what I'm saying? I was just thinking about a song that stays the same. But, yeah, Jack of her Beats is a perfect example of, like, OG version of how this could progress in that space. But, like, the person that brought orchestral and cinematic textures and composition to hip hop is definitely Kanye, right?

[B]

I mean, my God, this song. This song is so much. I could just listen to it over and over. There's a. He really embraces this. The childlike thing, right? Like, the kitty voices in the mix and the, like, there's a fun that they all seem to be having, right? Like, it's not, like, serious. I mean, this is serious hip hop. This is serious music. But the voices don't seem to be like, this is serious hip hop. They're like, sexy in this bitch. Tyler and his bitch. Like, we having fun with it. Like, get the fuck out of my way. Cause I got a big dick.

[A]

Like, these things. These things. These things that are. That are usually not together. Coming together is what's really amazing to me, too. And I think that Tyler and Kanye are probably one of the. And Pharrell, of the few who are able to take something that might seem corny or doesn't seem like you could make a song out of it and then make it the hardest thing in the world at the same time, it's like, let me. And they know how to do that. They know that from the instance. It's like, I'm gonna take these horns that is a marching band and us, like, you know, celebrating. But I'm also gonna put a grittiness to it that. And a darkness to it that is just unexpected. And I think he needs to be commended for that. It's so original. You remind me.

[B]

You remind me of Pharrell and Timbaland's whole history of bringing in sounds like this. Chirps, babies, softer sounds, sweeter sounds, and, like, putting them into a hip hop context. And we're like, yo, that's the hardest shit ever. And he's kind of Doing that here with, like, the kids singing the double Dutch rhyme or the double Dutch sort of feel, but we're like, yo, that shit is hard as fuck.

[A]

Yeah. And the gradual progression of the strings, the pad, the bell, percussion, that has tone to it. So it might be like glock and spiel or some, like, a glockenspiel. Like, the dude's probably using a glockenspiel to make a rap song. It's like. And for real. And then the. The drums. It's just. It's completely relating to the time of a Timberland or a Pharrell or even Kanye, where they're taking sounds from different spaces, different genres and things that we wouldn't really use. And I would put. I would. I'd go more with Timbaland and Pharrell than even Kanye, because I feel like Kanye was about soul. Like, whatever music it was, he was finding the soul of it.

[B]

Yes, Kanye also. And I saw a really fascinating piece on this online. I think it was from Vox, where they talked about his use of voice. And quite often, Kanye is using the human voice as an instrument, and you'll see two, three, four voices behind him or choir or some. The human voice pretending to be an instrument behind him. And this song Sticky gets so much out of using multiple human voices at once, especially in that early section. That's so. I love this song. I love this song.

[A]

And just the whole whistle everything. But, yeah, that's. That's. That's a bop. That's why it's number 10 in the top 10 in the Billboard right now.

[B]

No, you don't have to love hip hop to love this song. But if you do love hip hop, you fully understand what's going on in this song. And you're like, yo, this song is the shit. But, like, I could see, you know, like, real hip hop heads digging this, and soccer mom like, oh, this is fun. This is cute. This is rhythm. Like, yes, getting sticky in this bitch. Mom, what are you talking about? Shut up, shut up, shut up.

[A]

You in the back.

[B]

I'm driving to soccer practice. I'll listen to whatever the fuck I want. It's getting sticky in his bitch.

[A]

Yeah, that's just great. Driving you to soccer whenever I want.

[B]

Right? I'm listening to what mom should get to listen to whatever she want while she driving you to soccer practice. Man, fuck that shit.

[A]

It's getting stinky in this bitch. All right, all right.

[B]

Let's let this one go. And thanks for listening to Rap Latte a deeper conversation about hip hop. Me and Green talk about hip hop three times.