Less than a month ago, Hip-Hop Heads learned that Mac Miller and Madlib had recorded an album together before the former’s death last September. Fans got a taste of that chemistry on Freddie Gibbs & Madlib’s Pinata album’s title track. However, a body of work reportedly called MacLib not only exists, it sometimes sneaks into public consumption.
Shortly after Mac’s passing, Madlib’s manager and business partner, Eothen “Egon” Alapatt confirmed that the two artists had “started to work on a project together” in an Instagram tribute. Egon added, “[Mac Miller’s] rapping on Madlib’s beats were better than many others who had tried to tackle the same tracks before him. When Madlib would play a song at a festival somewhere, I would send a text, and we would talk about making some music, having fun.”
One of Miller’s collaborators, Thelonious Martin, toldDJ Booth‘s Donna-Claire Chesman that he heard both artists glow over their collabs. “When we was working on ‘Guidelines,’ [Mac Miller] was always excited about all these other songs. He had this Madlib album, called Maclib. I opened for Madlib in Chicago last summer, at [the] Pitchfork [Festival]. So I’m opening for Madlib, and about 15, 20 minutes left in my set, Madlib pulls up. Pete Rock walks up as well. So I’m trying to focus and DJ, and Madlib gets on and 15 minutes into his set he just randomly plays a Mac Miller joint. And I turn to him, I’m like, ‘There’s more of these, right?’ He’s said, ‘Oh, yeah, there’s a whole album. Maclib’” What! What! He just kept moving on with his DJ set. If Madlib decides to bless the world with that project, he should.”
Like the Chicago, Illinois producer’s account of Pitchfork Fest’, Madlib did it again this past weekend. According to Okay Player, Madlib broke out a collaboration with Miller and Thundercat at San Diego, California’s The Music Box. Twitter user JoeKay captured the moment on video, and shared it on social media:
At the top of the video, viewers can hear Miller rapping. Meanwhile, Madlib stands behind his equipment, including a mixer and turntables. In another clip in the same video, viewers can catch some unreleased Madlib and Freddie Gibbs.
That pair has released two singles from their upcoming sophomore set, Bandana: this month’s title track and February’s “Flat Tummy Tea.”
Less than a month ago, Hip-Hop Heads learned that Mac Miller and Madlib had recorded an album together before the former’s death last September. Fans got a taste of that chemistry on Freddie Gibbs & Madlib’s Pinata album’s title track. However, a body of work reportedly called MacLib not only exists, it sometimes sneaks into public consumption.
Shortly after Mac’s passing, Madlib’s manager and business partner, Eothen “Egon” Alapatt confirmed that the two artists had “started to work on a project together” in an Instagram tribute. Egon added, “[Mac Miller’s] rapping on Madlib’s beats were better than many others who had tried to tackle the same tracks before him. When Madlib would play a song at a festival somewhere, I would send a text, and we would talk about making some music, having fun.”
One of Miller’s collaborators, Thelonious Martin, toldDJ Booth‘s Donna-Claire Chesman that he heard both artists glow over their collabs. “When we was working on ‘Guidelines,’ [Mac Miller] was always excited about all these other songs. He had this Madlib album, called Maclib. I opened for Madlib in Chicago last summer, at [the] Pitchfork [Festival]. So I’m opening for Madlib, and about 15, 20 minutes left in my set, Madlib pulls up. Pete Rock walks up as well. So I’m trying to focus and DJ, and Madlib gets on and 15 minutes into his set he just randomly plays a Mac Miller joint. And I turn to him, I’m like, ‘There’s more of these, right?’ He’s said, ‘Oh, yeah, there’s a whole album. Maclib’” What! What! He just kept moving on with his DJ set. If Madlib decides to bless the world with that project, he should.”
Like the Chicago, Illinois producer’s account of Pitchfork Fest’, Madlib did it again this past weekend. According to Okay Player, Madlib broke out a collaboration with Miller and Thundercat at San Diego, California’s The Music Box. Twitter user JoeKay captured the moment on video, and shared it on social media:
At the top of the video, viewers can hear Miller rapping. Meanwhile, Madlib stands behind his equipment, including a mixer and turntables. In another clip in the same video, viewers can catch some unreleased Madlib and Freddie Gibbs.
Thirteen years ago this week, Nipsey Hussle released his debut mixtape, Slauson Boy. Shortly thereafter, the MC’s buzz started permeating the West Coast, and then the global Rap industry. The artist from the Crenshaw section of Los Angeles, California rapped with a sense of angst, awareness, and authority that stood apart from his peers. From Snoop Dogg to Chamillionaire to Rick Ross, a cross-section of Rap artists took interest in Nip’, giving him features and putting the artist on his songs.
While Nipsey eventually landed at a restructuring and rebranding Epic Records, the 2000s ended without an album. Instead, the rapper fed the streets with a steady stream of unadulterated mixtape product. Bullets Ain’t Got No Name and Marathon became sought-out series, very much tied to themes that surrounded Nipsey’s environment and a different industry blueprint. 2013’s Crenshaw, a mixtape sold at $100 a clip, combated the notion that free music lacked value. Pressed on CD, packaged with artwork, Nipsey Hussle set up shop beyond the industry in a way that was just as impressive as his art. JAY-Z was a noteworthy supporter, copping 100 copies of the celebrated work.
Until this year, Hussle delivered mixtape singles to the charts, kept a high-profile beyond the label machine, and continuously made top-shelf music during a renaissance of West Coast Gangsta Rap. Finalizing a partnership beyond the traditional deals, Nip’s Victory Lap with Atlantic Records this year pushed the quality even further. While the streets and the charts warmly received the February album, few could have predicted the Grammy Awards recognition as “Best Rap Album” nominee. In the coming weeks, Heads will see if the low-key artist from Crenshaw can achieve something that Snoop Dogg, Ice Cube, and The Game have not.
Closing out his banner year, Hussle releases “Perfect Timing.” Like so many other songs in his catalog, the record focuses on the hear-and-now of his career. “I know perfect timing feels like I’m too late / And I know I’m still great in spite of my mistakes / You know it’s authentic, every rhyme I say / My only regret is I made ni**as wait / See, ain’t too many like us, we life in this, baby / An’ I don’t f&ck with busters, y’all can’t integrate / Grew up with these killers in my living space / Lotta ni**as folded through them village days,” he opens.
Thirteen years ago this week, Nipsey Hussle released his debut mixtape, Slauson Boy. Shortly thereafter, the MC’s buzz started permeating the West Coast, and then the global Rap industry. The artist from the Crenshaw section of Los Angeles, California rapped with a sense of angst, awareness, and authority that stood apart from his peers. From Snoop Dogg to Chamillionaire to Rick Ross, a cross-section of Rap artists took interest in Nip’, giving him features and putting the artist on his songs.
While Nipsey eventually landed at a restructuring and rebranding Epic Records, the 2000s ended without an album. Instead, the rapper fed the streets with a steady stream of unadulterated mixtape product. Bullets Ain’t Got No Name and Marathon became sought-out series, very much tied to themes that surrounded Nipsey’s environment and a different industry blueprint. 2013’s Crenshaw, a mixtape sold at $100 a clip, combated the notion that free music lacked value. Pressed on CD, packaged with artwork, Nipsey Hussle set up shop beyond the industry in a way that was just as impressive as his art. JAY-Z was a noteworthy supporter, copping 100 copies of the celebrated work.
Until this year, Hussle delivered mixtape singles to the charts, kept a high-profile beyond the label machine, and continuously made top-shelf music during a renaissance of West Coast Gangsta Rap. Finalizing a partnership beyond the traditional deals, Nip’s Victory Lap with Atlantic Records this year pushed the quality even further. While the streets and the charts warmly received the February album, few could have predicted the Grammy Awards recognition as “Best Rap Album” nominee. In the coming weeks, Heads will see if the low-key artist from Crenshaw can achieve something that Snoop Dogg, Ice Cube, and The Game have not.
Closing out his banner year, Hussle releases “Perfect Timing.” Like so many other songs in his catalog, the record focuses on the hear-and-now of his career. “I know perfect timing feels like I’m too late / And I know I’m still great in spite of my mistakes / You know it’s authentic, every rhyme I say / My only regret is I made ni**as wait / See, ain’t too many like us, we life in this, baby / An’ I don’t f&ck with busters, y’all can’t integrate / Grew up with these killers in my living space / Lotta ni**as folded through them village days,” he opens.
We have our opinions on the best releases of 2018, but rather than simply tell you our pick for #1, we thought it would be more interesting to hear what you, the readers, believe is the Best Rap Album of 2018. With that in mind, we decided to make our Best Rap Albums Of 2018 list a living breathing conversation, that would ultimately lead to you, the readers, choosing which album is the best of the year. Throughout December, we will pit albums against one another, battle style, and your votes will determine the winners.
The bracket-style competition among the final 16 albums has begun. Each weekday, albums will face off against one another. In each case, voting will close after 24 hours. We will go from the Sweet 16 to the Elite 8 to the Final 4 to the Championship Finals, with one album emerging as the victor. The third Round 2 match-up is between J. Cole’s KOD and Mac Miller’s Swimming. Only one of these great LPs can reach the Final 4. Make sure your opinion is heard and gets counted (click on your album’s artwork in the box below, then click “vote”).
Jermaine Cole has been displaying his self-exploration in plain sight for nearly 10 years now. Each album formulated by the Fayetteville, North Carolina MC/producer has essentially been a verbal diary, meticulously detailing his pilgrimage through both the music industry and his understandings of existence. K.O.D., Cole’s fifth LP, finds him at his most enlightened, concerned, and transparent chapter to date. It bears a title serving as a triple entendre (Kids On Drugs, King Overdosed, Kill Our Demons) is cloaked in the severe dangers of addiction, ego, and greed. King Cole meets kiLL edward (an embodiment of his former stepfather) to sort through the effects of drug and alcohol dependency (“The Cut Off”), infidelity (“Kevin’s Heart”), the selfish pursuit of wealth (“ATM” & “Motiv8”), the inability to assess insecurities and ultimately face those personal demons (“FRIENDS”). What makes Cole’s decisive cautionary tale that is K.O.D. so powerful though, is that he seemingly comes to terms with his own self-inflicted shortcomings while simultaneously cautioning his peers and fans about the destruction of theirs. Without self-awareness, administered advice falls on deaf ears, and for an artist that has already hung their hat on unapologetic authenticity so intently, Cole finds even more strength in his sentiments throughout K.O.D. because of how mindful he is about the repercussions of his own tendencies. K.O.D. is both therapeutic and instructive in a time when honest leadership from a respected veteran was absolutely critical. Cole knew this, and K.O.D. is his grand contribution to the overall well-being of the music industry. Without vanity, Cole has demanded that all parties listen closely and choose wisely. – Michael Blair
Released: April 20, 2018 Label: Dreamville/Roc Nation/Interscope Guest: kiLL edward Producers: self, Ibrahim Hamad, BLVK, Mark Pelli, Ron Gilmore, T-Minus
The mending of a broken heart takes patience and time, or if you’re Mac Miller, an impeccably constructed musical effort to pair. On the heels of a highly-publicized two-year relationship, and eventual crushing breakup with Pop superstar Ariana Grande, the 26-year-old Pittsburgh, Pennsylvania MC/producer found his therapy and voice in the formation of Swimming, his fifth album. Rather than attributing fault to any outside circumstances, Mac examined self and assembled Swimming as an audible novel brimming with those self-reflective chronicles. Whether it be addressing the actual split with Grande (“Self Care” and ”Dunno”), his battles with substance abuse (“Jet Fuel”) and depression (“Perfecto”), or the forward-looking hopefulness (“Wings”) and need to turn the pages on regressive habits (“2009”), Mac covers a lifetime worth of emotion in the nearly hour-long album. Swimming finds Mac sincerely accountable for cycles of self-destruction while seemingly more clear-minded than ever before. Sonically, the album reaches a new plateau with a cohesive sequence throughout, displaying Mac’s grand transformation from rapper to musical composer. With the massive void that will be left by Mac Miller’s passing shortly after the release of the album, the music faithful can find solace in the notion that Mac’s maturation and potential greatness as a musician were achieved so wonderfully in his magnum opus that is Swimming. – Michael Blair
Released: August 3, 2018 Label: REMember Music/Warner Bros. Records Guests:Pharrell Williams (add’l vocals), John Mayer (add’l vocals), Thundercat (add’l vocals), Snoop Dogg (add’l vocals), Syd (add’l vocals), Dam-Funk (add’l vocals) Producers:Mac Miller, Jon Brion, J Cole, Dev Hynes, Steve Lacy, Flying Lotus, , Alexander Spit, Cardo, Carter Lang, Dam-Funk, DJ Dahi, Eric G, Gitty, ID Labs, Nice Rec, Nostxglic, Parson Brown, Pomo, Tae Beast, Tee-WaTT, Yung Exclusive
Black Milk – Fever Black Thought – Streams Of Thought, Vol. 2
Buddy – Harlan & Alondra Evidence – Weather Or Not J. Cole – K.O.D Jay Rock – Redemption Mac Miller – Swimming Masta Ace & Marco Polo – A Breukelen Story Nipsey Hussle – Victory Lap
Phonte – No News Is Good News
Pusha-T – DAYTONA
Royce 5’9 – Book Of Ryan
Saba – CARE FOR ME Travis Scott – ASTROWORLD Westside Gunn – Supreme Blientele
We have our opinions on the best releases of 2018, but rather than simply tell you our pick for #1, we thought it would be more interesting to hear what you, the readers, believe is the Best Rap Album of 2018. With that in mind, we decided to make our Best Rap Albums Of 2018 list a living breathing conversation, that would ultimately lead to you, the readers, choosing which album is the best of the year. Throughout December, we will pit albums against one another, battle style, and your votes will determine the winners.
The bracket-style competition among the final 16 albums has begun. Each weekday, albums will face off against one another. In each case, voting will close after 24 hours. We will go from the Sweet 16 to the Elite 8 to the Final 4 to the Championship Finals, with one album emerging as the victor. The third Round 2 match-up is between J. Cole’s KOD and Mac Miller’s Swimming. Only one of these great LPs can reach the Final 4. Make sure your opinion is heard and gets counted (click on your album’s artwork in the box below, then click “vote”).
Jermaine Cole has been displaying his self-exploration in plain sight for nearly 10 years now. Each album formulated by the Fayetteville, North Carolina MC/producer has essentially been a verbal diary, meticulously detailing his pilgrimage through both the music industry and his understandings of existence. K.O.D., Cole’s fifth LP, finds him at his most enlightened, concerned, and transparent chapter to date. It bears a title serving as a triple entendre (Kids On Drugs, King Overdosed, Kill Our Demons) is cloaked in the severe dangers of addiction, ego, and greed. King Cole meets kiLL edward (an embodiment of his former stepfather) to sort through the effects of drug and alcohol dependency (“The Cut Off”), infidelity (“Kevin’s Heart”), the selfish pursuit of wealth (“ATM” & “Motiv8”), the inability to assess insecurities and ultimately face those personal demons (“FRIENDS”). What makes Cole’s decisive cautionary tale that is K.O.D. so powerful though, is that he seemingly comes to terms with his own self-inflicted shortcomings while simultaneously cautioning his peers and fans about the destruction of theirs. Without self-awareness, administered advice falls on deaf ears, and for an artist that has already hung their hat on unapologetic authenticity so intently, Cole finds even more strength in his sentiments throughout K.O.D. because of how mindful he is about the repercussions of his own tendencies. K.O.D. is both therapeutic and instructive in a time when honest leadership from a respected veteran was absolutely critical. Cole knew this, and K.O.D. is his grand contribution to the overall well-being of the music industry. Without vanity, Cole has demanded that all parties listen closely and choose wisely. – Michael Blair
Released: April 20, 2018 Label: Dreamville/Roc Nation/Interscope Guest: kiLL edward Producers: self, Ibrahim Hamad, BLVK, Mark Pelli, Ron Gilmore, T-Minus
The mending of a broken heart takes patience and time, or if you’re Mac Miller, an impeccably constructed musical effort to pair. On the heels of a highly-publicized two-year relationship, and eventual crushing breakup with Pop superstar Ariana Grande, the 26-year-old Pittsburgh, Pennsylvania MC/producer found his therapy and voice in the formation of Swimming, his fifth album. Rather than attributing fault to any outside circumstances, Mac examined self and assembled Swimming as an audible novel brimming with those self-reflective chronicles. Whether it be addressing the actual split with Grande (“Self Care” and ”Dunno”), his battles with substance abuse (“Jet Fuel”) and depression (“Perfecto”), or the forward-looking hopefulness (“Wings”) and need to turn the pages on regressive habits (“2009”), Mac covers a lifetime worth of emotion in the nearly hour-long album. Swimming finds Mac sincerely accountable for cycles of self-destruction while seemingly more clear-minded than ever before. Sonically, the album reaches a new plateau with a cohesive sequence throughout, displaying Mac’s grand transformation from rapper to musical composer. With the massive void that will be left by Mac Miller’s passing shortly after the release of the album, the music faithful can find solace in the notion that Mac’s maturation and potential greatness as a musician were achieved so wonderfully in his magnum opus that is Swimming. – Michael Blair
Released: August 3, 2018 Label: REMember Music/Warner Bros. Records Guests:Pharrell Williams (add’l vocals), John Mayer (add’l vocals), Thundercat (add’l vocals), Snoop Dogg (add’l vocals), Syd (add’l vocals), Dam-Funk (add’l vocals) Producers:Mac Miller, Jon Brion, J Cole, Dev Hynes, Steve Lacy, Flying Lotus, , Alexander Spit, Cardo, Carter Lang, Dam-Funk, DJ Dahi, Eric G, Gitty, ID Labs, Nice Rec, Nostxglic, Parson Brown, Pomo, Tae Beast, Tee-WaTT, Yung Exclusive
Black Milk – Fever Black Thought – Streams Of Thought, Vol. 2
Buddy – Harlan & Alondra Evidence – Weather Or Not J. Cole – K.O.D Jay Rock – Redemption Mac Miller – Swimming Masta Ace & Marco Polo – A Breukelen Story Nipsey Hussle – Victory Lap
Phonte – No News Is Good News
Pusha-T – DAYTONA
Royce 5’9 – Book Of Ryan
Saba – CARE FOR ME Travis Scott – ASTROWORLD Westside Gunn – Supreme Blientele
Just less than two months ago (September 7), MC/producer Mac Miller died at the age of 26 in his Studio City, California residence. The native of Pittsburgh, Pennsylvania had recently released his fifth album Swimming, a body of work that he made with J. Cole, Jon Brion, Tae Beast, and longtime producers, ID Labs.
A cause of death has now been released to the public. TMZ has obtained the toxicology report from the L.A. County Coroner’s Office. Miller, born Malcolm McCormick, died from a reported overdose. Investigators found Fentanyl, cocaine, and alcohol in his system. The dosing was reportedly less than a lethal amount. However, the mixture of substances is believed to have been what stopped the Most Dope and REMember Music artist’s heart.
Additional details have been published by TMZ this morning (November 5), including the fact that Miller’s unresponsive body was found on his bed, in the praying position. He had blood coming from one of his nostrils. A rolled $20 bill with “powdery residue” was found in the artist’s right pocket.
A sweep of Miller’s home also found Xanax, Oxycodone, Hydrocodone, and generic Adderall.
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