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                  "standard": "\u201cRight then, I\u2019m ready,\u201d Adele says quietly at the close of <i>30</i>\u2019s opening track, \u201cStrangers By Nature.\u201d It feels like a moment of gentle\u2014but firm\u2014self-encouragement. This album is something that clearly required a few deep breaths for Tottenham\u2019s most celebrated export. \u201cThere were moments when I was writing these songs, and even when I was mixing them and stuff like that, where I was like, \u2018Maybe I don't need to put this album out,\u2019\u201d she tells Apple Music\u2019s Zane Lowe. \u201cLike, \u2018Maybe I should write another.\u2019 Just because music is my therapy. I'm never going into the studio to be like, \u2018Right, I need another hit.\u2019 It's not like that for me. When something is more powerful and overwhelming [to] me, I like to go to a studio, because it's normally a basement and there's no fucking windows and no reception, so no one can get ahold of me. So I'm basically running away. And no one would've known I'd written that record. Maybe I just had to get it out of my system.\u201d<br />\nBut, almost two years after much of it was completed, Adele did release <i>30</i>. And remarkably, considering the world has been using her back catalog to channel its rawest emotions since 2008, this is easily Adele\u2019s most vulnerable record. It concerns itself with Big Things Only\u2014crippling guilt over her 2019 divorce, motherhood, daring to date as one of the world\u2019s most famous people, falling in love\u2014capturing perfectly the wobbly resolve of a broken heart in repair. Its songs often feel sentimental in a way that\u2019s unusually warm and inviting, very California, and crucially: <i>earned</i>. \u201cThe album is for my son, for Angelo,\u201d she says. \u201cI knew I had to tell his story in a song because it was very clear he was feeling it, even though I thought I was doing a very good job of being like, \u2018Everything\u2019s fine.\u2019 But I also knew I wasn\u2019t being as present. I was just so consumed by so many different feelings. And he plucked up the courage to very articulately say to me, \u2018You\u2019re basically a ghost. You might as well not be here.\u2019 What kind of poet is that? For him to be little and say \u2018I can\u2019t see you\u2019 to my face broke my heart.\u201d<br />\nThis is also Adele\u2019s most confident album sonically. She fancied paying tribute to Judy Garland with Swedish composer Ludwig G\u00f6ransson (\u201cStrangers By Nature\u201d), so she did. \u201cI\u2019d watched the Judy Garland biopic,\u201d she says. \u201cAnd I remember thinking, \u2018Why did everyone stop writing such incredible melodies and cadences and harmonies?\u2019\u201d She felt comfortable working heartbreaking bedside chats with her young son and a voice memo documenting her own fragile mental state into her music on \u201cMy Little Love.\u201d \u201cWhile I was writing it, I just remember thinking of any child that\u2019s been through divorce or any person that has been though a divorce themselves, or anyone that wants to leave a relationship and never will,\u201d she says. \u201cI thought about all of them, because my divorce really humanized my parents for me.\u201d<br />\nThe album does not steep in sorrow and regret, however: There\u2019s a Max Martin blockbuster with a whistled chorus (\u201cCan I Get It\u201d), a twinkling interlude sampling iconic jazz pianist Erroll Garner (\u201cAll Night Parking\u201d), and the fruits of a new creative partnership with Dean Josiah Cover\u2014aka Michael Kiwanuka, Sault, and Little Simz producer Inflo. \u201cThe minute I realized he [Inflo] was from North London, I wouldn\u2019t stop talking to him,\u201d she says. \u201cWe got no work done. It was only a couple of months after I\u2019d left my marriage, and we got on so well, but he could feel that something was wrong. He knew that something dark was happening in me. I just opened up. I was dying for someone to ask me how I was.\u201d<br />\nOne of the Inflo tracks, \u201cHold On,\u201d is the album\u2019s centerpiece. Rolling through self-loathing (\u201cI swear to god, I am such a mess/The harder that I try, I regress\u201d) into instantly quotable revelations (\u201cSometimes loneliness is the only rest we get\u201d) before reaching show-stopping defiance (\u201cLet time be patient, let pain be gracious/Love will soon come, if you just hold on\u201d), the song accesses something like final-form Adele. It\u2019s a rainbow of emotions, it\u2019s got a choir (\u201cI got my friends to come and sing,\u201d she tells Apple Music), and she hits notes we\u2019ll all only dare tackle in cars, solo. \u201cI definitely lost hope a number of times that I\u2019d ever find my joy again,\u201d she says. \u201cI remember I didn\u2019t barely laugh for about a year. But I didn\u2019t realize I was making progress until I wrote \u2018Hold On\u2019 and listened to it back. Later, I was like, \u2018Oh, fuck, I\u2019ve really learned a lot. I\u2019ve really come a long way.\u2019\u201d<br />\nSo, after all this, is Adele happy that <i>30</i> found its way to the world? \u201cIt really helped me, this album,\u201d she says. \u201cI really think that some of the songs on this album could really help people, really change people\u2019s lives. A song like \u2018Hold On\u2019 could actually save a few lives.\u201d It\u2019s also an album she feels could support fellow artists. \u201cI think it\u2019s an important record for them to hear,\u201d she says. \u201cThe ones that I feel are being encouraged not to value their own art, and that everything should be massive and everything should be \u2018get it while you can\u2019\u2026 I just wanted to remind them that you don\u2019t need to be in everyone\u2019s faces all the time. And also, you can really write from your stomach, if you want.\u201d",
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                          "standard": "\u201cRight then, I\u2019m ready,\u201d Adele says quietly at the close of <i>30</i>\u2019s opening track, \u201cStrangers By Nature.\u201d It feels like a moment of gentle\u2014but firm\u2014self-encouragement. This album is something that clearly required a few deep breaths for Tottenham\u2019s most celebrated export. \u201cThere were moments when I was writing these songs, and even when I was mixing them and stuff like that, where I was like, \u2018Maybe I don't need to put this album out,\u2019\u201d she tells Apple Music\u2019s Zane Lowe. \u201cLike, \u2018Maybe I should write another.\u2019 Just because music is my therapy. I'm never going into the studio to be like, \u2018Right, I need another hit.\u2019 It's not like that for me. When something is more powerful and overwhelming [to] me, I like to go to a studio, because it's normally a basement and there's no fucking windows and no reception, so no one can get ahold of me. So I'm basically running away. And no one would've known I'd written that record. Maybe I just had to get it out of my system.\u201d<br />\nBut, almost two years after much of it was completed, Adele did release <i>30</i>. And remarkably, considering the world has been using her back catalog to channel its rawest emotions since 2008, this is easily Adele\u2019s most vulnerable record. It concerns itself with Big Things Only\u2014crippling guilt over her 2019 divorce, motherhood, daring to date as one of the world\u2019s most famous people, falling in love\u2014capturing perfectly the wobbly resolve of a broken heart in repair. Its songs often feel sentimental in a way that\u2019s unusually warm and inviting, very California, and crucially: <i>earned</i>. \u201cThe album is for my son, for Angelo,\u201d she says. \u201cI knew I had to tell his story in a song because it was very clear he was feeling it, even though I thought I was doing a very good job of being like, \u2018Everything\u2019s fine.\u2019 But I also knew I wasn\u2019t being as present. I was just so consumed by so many different feelings. And he plucked up the courage to very articulately say to me, \u2018You\u2019re basically a ghost. You might as well not be here.\u2019 What kind of poet is that? For him to be little and say \u2018I can\u2019t see you\u2019 to my face broke my heart.\u201d<br />\nThis is also Adele\u2019s most confident album sonically. She fancied paying tribute to Judy Garland with Swedish composer Ludwig G\u00f6ransson (\u201cStrangers By Nature\u201d), so she did. \u201cI\u2019d watched the Judy Garland biopic,\u201d she says. \u201cAnd I remember thinking, \u2018Why did everyone stop writing such incredible melodies and cadences and harmonies?\u2019\u201d She felt comfortable working heartbreaking bedside chats with her young son and a voice memo documenting her own fragile mental state into her music on \u201cMy Little Love.\u201d \u201cWhile I was writing it, I just remember thinking of any child that\u2019s been through divorce or any person that has been though a divorce themselves, or anyone that wants to leave a relationship and never will,\u201d she says. \u201cI thought about all of them, because my divorce really humanized my parents for me.\u201d<br />\nThe album does not steep in sorrow and regret, however: There\u2019s a Max Martin blockbuster with a whistled chorus (\u201cCan I Get It\u201d), a twinkling interlude sampling iconic jazz pianist Erroll Garner (\u201cAll Night Parking\u201d), and the fruits of a new creative partnership with Dean Josiah Cover\u2014aka Michael Kiwanuka, Sault, and Little Simz producer Inflo. \u201cThe minute I realized he [Inflo] was from North London, I wouldn\u2019t stop talking to him,\u201d she says. \u201cWe got no work done. It was only a couple of months after I\u2019d left my marriage, and we got on so well, but he could feel that something was wrong. He knew that something dark was happening in me. I just opened up. I was dying for someone to ask me how I was.\u201d<br />\nOne of the Inflo tracks, \u201cHold On,\u201d is the album\u2019s centerpiece. Rolling through self-loathing (\u201cI swear to god, I am such a mess/The harder that I try, I regress\u201d) into instantly quotable revelations (\u201cSometimes loneliness is the only rest we get\u201d) before reaching show-stopping defiance (\u201cLet time be patient, let pain be gracious/Love will soon come, if you just hold on\u201d), the song accesses something like final-form Adele. 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                          "standard": "When the British soul belter Adele began working on the follow-up to her 2008 debut <i>19</i>, she had a difficult time finding songwriting inspiration. Then, her relationship imploded\u2014and within a day of her breakup, she and producer Paul Epworth had written the stormy, tearful \"Rolling in the Deep,\" which would go on to not only open her second album, <i>21</i>, but eventually become one of 2011's defining singles and set the tone for a vibrant portrait of young heartbreak that showcases Adele's fierce alto.<br />\nOn <i>19</i>, Adele established herself as a key part of the 2000s class of British R&B-inspired singers that included Amy Winehouse and Duffy. For <i>21</i>, however, she added new dimensions to her sound, bringing in ideas borrowed from country, rock, gospel, and modern pop\u2014as well as a gently psychedelic take on the downcast \"Lovesong,\" originally by fellow Brit miserablists The Cure. Adele's powerful voice and unguarded feelings were <i>21</i>'s main draw, but her savvy about using them\u2014and only going all in when a song's emotional force required her to do so\u2014made it one of the 21st century's biggest albums.<br />\nWhile a few top-tier producers, including Rick Rubin, Ryan Tedder, and Dan Wilson, worked on <i>21</i>, its coherence comes from the woman at its center, whose voice channels the anguish of the stirring ballad \"One and Only,\" the weepy \"Don't You Remember,\" and the vengeful \"Rumour Has It.\" The stripped-down \"Someone Like You,\" meanwhile, is the natural bookend to \"Rolling,\" its bittersweet lyrics and quietly anguished vocal sounding like the aftermath of the argument that track began.<br />\n\u201c<i>21</i> isn't even my record\u2014it belongs to the people,\u201d Adele told Apple Music in 2015. That's true in a sense; <i>21</i> was one of the 2010s' true pop successes, reaching listeners from all over the world. But Adele is its key ingredient, a modern soul singer whose range is only matched by her ability to conjure up deeply felt emotions.",
                          "short": "\u201c21 isn't even my record\u2014it belongs to the people.\u201d"
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                          "standard": "Adele Adkins recorded her debut when she was still in her teens, but the gravitas and interpretative skill she exhibits on the stripped-down soul-pop of <i>19</i> reveal a timeless talent. The introspective \u201cChasing Pavements\u201d and the biting \u201cCold Shoulder\u201d showcase her supple alto, which brings her lyrics\u2019 deep-seated emotions to the fore; her sweetly smitten cover of Bob Dylan\u2019s \u201cMake You Feel My Love\u201d turns its professions of devotion into honey drops. A stirring introduction from one of the 21st century\u2019s pop luminaries.",
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                          "standard": "This EP was recorded at the iTunes Festival\u2014a month of exclusive live performances at the legendary Roundhouse in London. The first iTunes Festival launched in 2007, bringing out a wide array of amazing music every night for an entire month. Check out more EPs like this one and go to www.itunes.com/festival for more information."
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                          "standard": "What does an MC from Las Vegas sound like? It\u2019s a funny question to not have an obvious answer for in 2021, but one that seems that much sillier when you consider who it is that will likely become one of the city\u2019s first reference points. Across his debut album <i>The Melodic Blue</i>, 20-year-old Vegas native Baby Keem sounds firstly like a combination of his biggest influences (Kanye West, Kid Cudi, Kendrick Lamar), but also, maybe more notably, like he could be from anywhere, because that\u2019s what an emergent MC sounds like in 2021. What other emergent MCs don\u2019t have, however, are Keem\u2019s dedication to airing out multiple flows over the course of a single song, his gift for spellbinding non sequitur, or the fearlessness with which he approaches song-making. They likely aren\u2019t cousins with Kendrick Lamar either, but if Lamar\u2019s scarcity between projects tells us anything, it\u2019s that he\u2019s not stepping to the mic for just anybody. <br /> \nIn fact, it is Lamar who sounds like he\u2019s doing his best to keep up with Keem over the course of their <i>The Melodic Blue</i> collaborations (\u201crange brothers,\u201d \u201cfamily ties\u201d). But keeping up with Keem is no easy task. He\u2019s hilarious, even when he\u2019s trying to get a point across (\u201cI must confess, I am a mess, I cannot fix it/Lil baby thick, Margiela sweats, look at my dick print,\u201d he raps on \u201cvent\u201d), and he switches flows so often you\u2019d think he had some kind of tic. The album\u2019s only other guests are Travis Scott (\u201cdurag activity\u201d) and Don Toliver (\u201ccocoa\u201d). Which just leaves that much more room for Keem to dance across octaves, drop into a whisper, deadpan, shift to double-time, and sing, all of which he does over the course of just \u201ctrademark usa.\u201d One song into his debut and Keem has unloaded a display so excessive that a forward-thinking manager might ask him to save something for a deluxe version. But there\u2019s not likely much you could say to someone tasked with putting Las Vegas back on the map.",
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                          "standard": "The Vegas-born rapper is on the kind of hot streak that\u2019ll make you wonder what you\u2019ve been doing with your life: In the span of a couple years, the teenager collaborated with Beyonc\u00e9 and Kendrick Lamar (co-writing and co-producing \u201cNile\u201d for Beyonc\u00e9\u2018s 2019 <i>The Lion King</i> tie-in album <i>The Gift</i>), nabbed writing and production credits on the <i>Black Panther</i> soundtrack, and had his own breakaway hit with the brash, minimalist \u201cOrange Soda.\u201d Keem\u2019s low-key sing-raps aren\u2019t exactly reinventing the form on <i>DIE FOR MY BITCH</i>, his second mixtape, but they\u2019re weirdly catchy and occasionally hilarious. (\u201cIf they cancel me, then I retire,\u201d he smirks on \u201cTOP RAMEN.\u201d Goals!) He even tries his hand at emo on the wonderfully salty \u201cMY EX,\u201d to surprisingly pleasant effect.",
                          "short": "The Vegas teen\u2019s hot streak continues with his second mixtape."
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                          "standard": "Bruno Mars and Anderson .Paak were already hard at work on what would become <i>An Evening With Silk Sonic</i> when the pandemic shut down live music in early 2020, but they weren\u2019t going to let that stop them from delivering a concert experience to their fans. \u201cAll of a sudden, my shows get canceled, Andy's shows get canceled,\u201d Mars told Ebro Darden during their R&B Now interview. \u201cThis fear of \u2018we\u2019ll never be able to play live again\u2019 comes into play. And to take that away from guys like us, that's all we know. So we're thinking, all right, let's put an album together that sounds like a show.\u201d<br />\nIt began with the project\u2019s lead single, \u201cLeave the Door Open,\u201d a syrupy-sweet piece of retro soul that Mars considers something of a backbone for the project. After its completion, he and .Paak began building out the nine songs of <i>An Evening With Silk Sonic</i>, soliciting help, in the few instances where they needed it, from friends like Bootsy Collins, Thundercat, and even Kenneth \u201cBabyface\u201d Edmonds. Their access to HOF-worthy firepower notwithstanding, the pair always understood that their own combined musicality was the real draw. \u201cWe just wanted it to feel special,\u201d Mars says. \u201cInstead of trying to get too cute with the concept, it's like, what's more special than Anderson .Paak behind a drum set singing a song and me having his back when it's my turn, you know? And the band moving in the same direction? It was just like a musician's dream.\u201d Below, the pair talk through some of the tracks that make <i>An Evening With Silk Sonic</i> an experience fans won\u2019t soon forget. <br />\n<b>\u201cLeave the Door Open\u201d</b>\nBruno Mars: \u201cMe and Andy come from the school of performing and playing live instruments. We wrote \u2018Leave the Door Open\u2019 and it was just one of those songs like, dang, I can\u2019t believe we a part of this, and we don't know what it's gonna do, we don't care that it's a ballad or a whatever you wanna call it\u2014to us, this just feels right and it's important. So no matter what, if it hit No. 1 or it didn't, me and Andy both know that that was the best we could do. And we were cool with that.\u201d<br />\n<b>\u201cFly as Me\u201d</b>\nAnderson .Paak: \u201c\u2018Fly as Me\u2019 is a joint hook [Mars] had for a minute. He was trying to figure out some verses for it, trying to figure out the groove, and we spent some time on that.\u201d\nMars: \u201cAndy goes behind the drum set one day and says, \u2018The groove gotta be like this,\u2019 and starts playing his groove. D\u2019Mile is on the bass, I'm on the guitar. After all the grooves we tried, I don't know what it is, there's something about someone in the studio, someone that you trust, saying, 'It's gotta be like this.\u2019 And the groove you hear him playing, which is not an easy groove to play, was what he showed me and D. And we just followed suit.\u201d<br />\n<b>\u201cAfter Last Night\u201d (with Thundercat & Bootsy Collins)</b>\nMars: \u201cThat one got a lot of Bootsy on it. And my boy Thundercat came in and blessed us. It\u2019s just one of them songs\u2014everything was built to be played live, so that song is one of those we can keep going for 10 minutes.\u201d<br />\n<b>\u201cSmokin Out the Window\u201d</b>\nMars: \u201c\u2018Smokin Out the Window\u2019 was an idea we started four or five years ago on tour. It didn't sound nothing like how it does now, but we just had the idea. On [.Paak\u2019s] birthday, I called him over. He was hysterical that night. After every take he was like, 'I'm the king of R&B! I\u2019m the best! Tell me I\u2019m not the hottest in the game!' We were going back and forth with the lines and who can make who laugh, and we end up finishing that song and he was like, 'I\u2019m out, what we doing tomorrow?'\u201d<br />\n<b>\u201cPut On a Smile\u201d</b>\nMars: \u201cI had a song that I played for Andy and I said, \u2018What do you think about this?\u2019 and he said, \u2018It sucks.\u2019 I start singing it again and he gets behind the drums and that's when the magic happens. So we come up with this hook and these chords and that's when we start cooking, when everything starts moving in the studio. The song's starting to sound real good now. I don\u2019t wanna mess it up, so I call Babyface. I only call Face to know if I got something good, you know, \u2019cause he\u2019ll tell me too, 'This is wack.' For all of us to finish that record together, that was one of my favorite experiences on this album.\u201d<br />\n<b>\u201cSkate\u201d</b>\nMars: \u201cIt's hard to be mad on some rollerskates. So really, that's kinda the essence of this album: If me and Andy were to host a party, what would that feel like? Summertime. Outside. Set up the congas and the drums and amplifiers, and what would that sound like? And this is what our best effort was: 'Skate.'\u201d",
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                          "standard": "Bruno Mars and Anderson .Paak were already hard at work on what would become <i>An Evening With Silk Sonic</i> when the pandemic shut down live music in early 2020, but they weren\u2019t going to let that stop them from delivering a concert experience to their fans. \u201cAll of a sudden, my shows get canceled, Andy's shows get canceled,\u201d Mars told Ebro Darden during their R&B Now interview. \u201cThis fear of \u2018we\u2019ll never be able to play live again\u2019 comes into play. And to take that away from guys like us, that's all we know. So we're thinking, all right, let's put an album together that sounds like a show.\u201d<br />\nIt began with the project\u2019s lead single, \u201cLeave the Door Open,\u201d a syrupy-sweet piece of retro soul that Mars considers something of a backbone for the project. After its completion, he and .Paak began building out the nine songs of <i>An Evening With Silk Sonic</i>, soliciting help, in the few instances where they needed it, from friends like Bootsy Collins, Thundercat, and even Kenneth \u201cBabyface\u201d Edmonds. Their access to HOF-worthy firepower notwithstanding, the pair always understood that their own combined musicality was the real draw. \u201cWe just wanted it to feel special,\u201d Mars says. \u201cInstead of trying to get too cute with the concept, it's like, what's more special than Anderson .Paak behind a drum set singing a song and me having his back when it's my turn, you know? And the band moving in the same direction? It was just like a musician's dream.\u201d Below, the pair talk through some of the tracks that make <i>An Evening With Silk Sonic</i> an experience fans won\u2019t soon forget. <br />\n<b>\u201cLeave the Door Open\u201d</b>\nBruno Mars: \u201cMe and Andy come from the school of performing and playing live instruments. We wrote \u2018Leave the Door Open\u2019 and it was just one of those songs like, dang, I can\u2019t believe we a part of this, and we don't know what it's gonna do, we don't care that it's a ballad or a whatever you wanna call it\u2014to us, this just feels right and it's important. So no matter what, if it hit No. 1 or it didn't, me and Andy both know that that was the best we could do. And we were cool with that.\u201d<br />\n<b>\u201cFly as Me\u201d</b>\nAnderson .Paak: \u201c\u2018Fly as Me\u2019 is a joint hook [Mars] had for a minute. He was trying to figure out some verses for it, trying to figure out the groove, and we spent some time on that.\u201d\nMars: \u201cAndy goes behind the drum set one day and says, \u2018The groove gotta be like this,\u2019 and starts playing his groove. D\u2019Mile is on the bass, I'm on the guitar. After all the grooves we tried, I don't know what it is, there's something about someone in the studio, someone that you trust, saying, 'It's gotta be like this.\u2019 And the groove you hear him playing, which is not an easy groove to play, was what he showed me and D. And we just followed suit.\u201d<br />\n<b>\u201cAfter Last Night\u201d (with Thundercat & Bootsy Collins)</b>\nMars: \u201cThat one got a lot of Bootsy on it. And my boy Thundercat came in and blessed us. It\u2019s just one of them songs\u2014everything was built to be played live, so that song is one of those we can keep going for 10 minutes.\u201d<br />\n<b>\u201cSmokin Out the Window\u201d</b>\nMars: \u201c\u2018Smokin Out the Window\u2019 was an idea we started four or five years ago on tour. It didn't sound nothing like how it does now, but we just had the idea. On [.Paak\u2019s] birthday, I called him over. He was hysterical that night. After every take he was like, 'I'm the king of R&B! I\u2019m the best! Tell me I\u2019m not the hottest in the game!' We were going back and forth with the lines and who can make who laugh, and we end up finishing that song and he was like, 'I\u2019m out, what we doing tomorrow?'\u201d<br />\n<b>\u201cPut On a Smile\u201d</b>\nMars: \u201cI had a song that I played for Andy and I said, \u2018What do you think about this?\u2019 and he said, \u2018It sucks.\u2019 I start singing it again and he gets behind the drums and that's when the magic happens. So we come up with this hook and these chords and that's when we start cooking, when everything starts moving in the studio. The song's starting to sound real good now. I don\u2019t wanna mess it up, so I call Babyface. I only call Face to know if I got something good, you know, \u2019cause he\u2019ll tell me too, 'This is wack.' For all of us to finish that record together, that was one of my favorite experiences on this album.\u201d<br />\n<b>\u201cSkate\u201d</b>\nMars: \u201cIt's hard to be mad on some rollerskates. So really, that's kinda the essence of this album: If me and Andy were to host a party, what would that feel like? Summertime. Outside. Set up the congas and the drums and amplifiers, and what would that sound like? And this is what our best effort was: 'Skate.'\u201d",
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                          "standard": "Bruno Mars is a musical renaissance man with an ear for current trends and fluent in old-school methods of songwriting and production. \"Just the Way You Are,\" \"Talking to the Moon,\" and \"Our First Time\" are suave slices of R&B/pop with finely-honed hooks. Stretching out further, he dives into a \u201960-style soul rave-up (\u201cRunaway Baby\u201d), has a fling with classic summertime pop (\u201cMarry You\u201d), and delivers an anthemic ballad with the album's biggest hit, \"Grenade.\" Mars handles the instrumental duties as well as the lead vocals, bringing a unified feel to this eclectic and delightful album.",
                          "short": "Mars blends of-the-moment trends with old-school methods of songwriting and production."
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                          "standard": "Bruno Mars and Anderson .Paak were already hard at work on what would become <i>An Evening With Silk Sonic</i> when the pandemic shut down live music in early 2020, but they weren\u2019t going to let that stop them from delivering a concert experience to their fans. \u201cAll of a sudden, my shows get canceled, Andy's shows get canceled,\u201d Mars told Ebro Darden during their R&B Now interview. \u201cThis fear of \u2018we\u2019ll never be able to play live again\u2019 comes into play. And to take that away from guys like us, that's all we know. So we're thinking, all right, let's put an album together that sounds like a show.\u201d<br />\nIt began with the project\u2019s lead single, \u201cLeave the Door Open,\u201d a syrupy-sweet piece of retro soul that Mars considers something of a backbone for the project. After its completion, he and .Paak began building out the nine songs of <i>An Evening With Silk Sonic</i>, soliciting help, in the few instances where they needed it, from friends like Bootsy Collins, Thundercat, and even Kenneth \u201cBabyface\u201d Edmonds. Their access to HOF-worthy firepower notwithstanding, the pair always understood that their own combined musicality was the real draw. \u201cWe just wanted it to feel special,\u201d Mars says. \u201cInstead of trying to get too cute with the concept, it's like, what's more special than Anderson .Paak behind a drum set singing a song and me having his back when it's my turn, you know? And the band moving in the same direction? It was just like a musician's dream.\u201d Below, the pair talk through some of the tracks that make <i>An Evening With Silk Sonic</i> an experience fans won\u2019t soon forget. <br />\n<b>\u201cLeave the Door Open\u201d</b>\nBruno Mars: \u201cMe and Andy come from the school of performing and playing live instruments. We wrote \u2018Leave the Door Open\u2019 and it was just one of those songs like, dang, I can\u2019t believe we a part of this, and we don't know what it's gonna do, we don't care that it's a ballad or a whatever you wanna call it\u2014to us, this just feels right and it's important. So no matter what, if it hit No. 1 or it didn't, me and Andy both know that that was the best we could do. And we were cool with that.\u201d<br />\n<b>\u201cFly as Me\u201d</b>\nAnderson .Paak: \u201c\u2018Fly as Me\u2019 is a joint hook [Mars] had for a minute. He was trying to figure out some verses for it, trying to figure out the groove, and we spent some time on that.\u201d\nMars: \u201cAndy goes behind the drum set one day and says, \u2018The groove gotta be like this,\u2019 and starts playing his groove. D\u2019Mile is on the bass, I'm on the guitar. After all the grooves we tried, I don't know what it is, there's something about someone in the studio, someone that you trust, saying, 'It's gotta be like this.\u2019 And the groove you hear him playing, which is not an easy groove to play, was what he showed me and D. And we just followed suit.\u201d<br />\n<b>\u201cAfter Last Night\u201d (with Thundercat & Bootsy Collins)</b>\nMars: \u201cThat one got a lot of Bootsy on it. And my boy Thundercat came in and blessed us. It\u2019s just one of them songs\u2014everything was built to be played live, so that song is one of those we can keep going for 10 minutes.\u201d<br />\n<b>\u201cSmokin Out the Window\u201d</b>\nMars: \u201c\u2018Smokin Out the Window\u2019 was an idea we started four or five years ago on tour. It didn't sound nothing like how it does now, but we just had the idea. On [.Paak\u2019s] birthday, I called him over. He was hysterical that night. After every take he was like, 'I'm the king of R&B! I\u2019m the best! Tell me I\u2019m not the hottest in the game!' We were going back and forth with the lines and who can make who laugh, and we end up finishing that song and he was like, 'I\u2019m out, what we doing tomorrow?'\u201d<br />\n<b>\u201cPut On a Smile\u201d</b>\nMars: \u201cI had a song that I played for Andy and I said, \u2018What do you think about this?\u2019 and he said, \u2018It sucks.\u2019 I start singing it again and he gets behind the drums and that's when the magic happens. So we come up with this hook and these chords and that's when we start cooking, when everything starts moving in the studio. The song's starting to sound real good now. I don\u2019t wanna mess it up, so I call Babyface. I only call Face to know if I got something good, you know, \u2019cause he\u2019ll tell me too, 'This is wack.' For all of us to finish that record together, that was one of my favorite experiences on this album.\u201d<br />\n<b>\u201cSkate\u201d</b>\nMars: \u201cIt's hard to be mad on some rollerskates. So really, that's kinda the essence of this album: If me and Andy were to host a party, what would that feel like? Summertime. Outside. Set up the congas and the drums and amplifiers, and what would that sound like? And this is what our best effort was: 'Skate.'\u201d",
                          "short": "\u201cIf me and Andy were to host a party, what would that feel like?\u201d"
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                          "standard": "Bruno Mars and Anderson .Paak were already hard at work on what would become <i>An Evening With Silk Sonic</i> when the pandemic shut down live music in early 2020, but they weren\u2019t going to let that stop them from delivering a concert experience to their fans. \u201cAll of a sudden, my shows get canceled, Andy's shows get canceled,\u201d Mars told Ebro Darden during their R&B Now interview. \u201cThis fear of \u2018we\u2019ll never be able to play live again\u2019 comes into play. And to take that away from guys like us, that's all we know. So we're thinking, all right, let's put an album together that sounds like a show.\u201d<br />\nIt began with the project\u2019s lead single, \u201cLeave the Door Open,\u201d a syrupy-sweet piece of retro soul that Mars considers something of a backbone for the project. After its completion, he and .Paak began building out the nine songs of <i>An Evening With Silk Sonic</i>, soliciting help, in the few instances where they needed it, from friends like Bootsy Collins, Thundercat, and even Kenneth \u201cBabyface\u201d Edmonds. Their access to HOF-worthy firepower notwithstanding, the pair always understood that their own combined musicality was the real draw. \u201cWe just wanted it to feel special,\u201d Mars says. \u201cInstead of trying to get too cute with the concept, it's like, what's more special than Anderson .Paak behind a drum set singing a song and me having his back when it's my turn, you know? And the band moving in the same direction? It was just like a musician's dream.\u201d Below, the pair talk through some of the tracks that make <i>An Evening With Silk Sonic</i> an experience fans won\u2019t soon forget. <br />\n<b>\u201cLeave the Door Open\u201d</b>\nBruno Mars: \u201cMe and Andy come from the school of performing and playing live instruments. We wrote \u2018Leave the Door Open\u2019 and it was just one of those songs like, dang, I can\u2019t believe we a part of this, and we don't know what it's gonna do, we don't care that it's a ballad or a whatever you wanna call it\u2014to us, this just feels right and it's important. So no matter what, if it hit No. 1 or it didn't, me and Andy both know that that was the best we could do. And we were cool with that.\u201d<br />\n<b>\u201cFly as Me\u201d</b>\nAnderson .Paak: \u201c\u2018Fly as Me\u2019 is a joint hook [Mars] had for a minute. He was trying to figure out some verses for it, trying to figure out the groove, and we spent some time on that.\u201d\nMars: \u201cAndy goes behind the drum set one day and says, \u2018The groove gotta be like this,\u2019 and starts playing his groove. D\u2019Mile is on the bass, I'm on the guitar. After all the grooves we tried, I don't know what it is, there's something about someone in the studio, someone that you trust, saying, 'It's gotta be like this.\u2019 And the groove you hear him playing, which is not an easy groove to play, was what he showed me and D. And we just followed suit.\u201d<br />\n<b>\u201cAfter Last Night\u201d (with Thundercat & Bootsy Collins)</b>\nMars: \u201cThat one got a lot of Bootsy on it. And my boy Thundercat came in and blessed us. It\u2019s just one of them songs\u2014everything was built to be played live, so that song is one of those we can keep going for 10 minutes.\u201d<br />\n<b>\u201cSmokin Out the Window\u201d</b>\nMars: \u201c\u2018Smokin Out the Window\u2019 was an idea we started four or five years ago on tour. It didn't sound nothing like how it does now, but we just had the idea. On [.Paak\u2019s] birthday, I called him over. He was hysterical that night. After every take he was like, 'I'm the king of R&B! I\u2019m the best! Tell me I\u2019m not the hottest in the game!' We were going back and forth with the lines and who can make who laugh, and we end up finishing that song and he was like, 'I\u2019m out, what we doing tomorrow?'\u201d<br />\n<b>\u201cPut On a Smile\u201d</b>\nMars: \u201cI had a song that I played for Andy and I said, \u2018What do you think about this?\u2019 and he said, \u2018It sucks.\u2019 I start singing it again and he gets behind the drums and that's when the magic happens. So we come up with this hook and these chords and that's when we start cooking, when everything starts moving in the studio. The song's starting to sound real good now. I don\u2019t wanna mess it up, so I call Babyface. I only call Face to know if I got something good, you know, \u2019cause he\u2019ll tell me too, 'This is wack.' For all of us to finish that record together, that was one of my favorite experiences on this album.\u201d<br />\n<b>\u201cSkate\u201d</b>\nMars: \u201cIt's hard to be mad on some rollerskates. So really, that's kinda the essence of this album: If me and Andy were to host a party, what would that feel like? Summertime. Outside. Set up the congas and the drums and amplifiers, and what would that sound like? And this is what our best effort was: 'Skate.'\u201d",
                          "short": "\u201cIf me and Andy were to host a party, what would that feel like?\u201d"
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                      "id": "1065681363",
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                        "releaseDate": "2016-01-15",
                        "name": "Malibu",
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                          "standard": "Rapper/singer Anderson .Paak\u2019s third album\u2014and first since his star turn on Dr. Dre\u2019s <i>Compton</i>\u2014is a warm, wide-angle look at the sweep of his life. A former church drummer trained in gospel music, Paak is as expressive a singer as he is a rapper, sliding effortlessly between the reportorial grit of hip-hop (\u201cCome Down\u201d) and the emotional catharsis of soul and R&B (\u201cThe Season/Carry Me\u201d), live-instrument grooves and studio production\u2014a blend that puts him in league with other roots-conscious artists like Chance the Rapper and Kendrick Lamar. ",
                          "short": "R&B, hip-hop, and slinking soul\u2014a blissfully laidback love letter to Southern California."
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                        "releaseDate": "2019-04-11",
                        "name": "Ventura",
                        "recordLabel": "Aftermath/12 Tone Music, LLC",
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                        "editorialNotes": {
                          "standard": "When asked about the fundamental difference between <i>Oxnard</i> and <i>Ventura</i>, two Anderson .Paak albums created at the same time and then released some five months apart, .Paak had this to say to Beats 1 host Zane Lowe: \u201cI felt like one was made to be gritty, one was made to be pretty.\u201d Sure, there are elements of both in each, but <i>Ventura</i>'s easygoing vintage soul plays as a beautiful counterweight to the boundless energy of <i>Oxnard</i>. For his part, .Paak describes them as bookends to the same adventure: \u201cOne you could play on your way to Vegas and one you can play on your way back,\u201d he said. \u201cAfter you do all those horrible things and you can reflect on what you've done.\u201d And like any Vegas trip worth its salt, <i>Ventura</i>, it would seem, was made great by way of the presence of friends. Read about the album's creation, track by track, below.<br />\n<b>\u201cCome Home\u201d feat. Andr\u00e9 3000</b>\n\u201c[With Andr\u00e9 3000] I just had to be very patient. That's all it was. I started losing hope for a second\u2014I didn't know if it was going to happen\u2014and at the very last minute he came through, and he just exceeded all expectations. We were on tour. I think I was in Italy when he sent in the verse, and it just blew our head. You know, just like, 'Whoa. What the hell?'\u201d<br />\n<b>\u201cMake It Better\u201d feat. Smokey Robinson</b>\n\u201cSmokey came through. He said, 'You got to make it nice, baby. You got to say something sweet to her, baby. If you want her to fall in love, you got to make love to her with your words, man.' I was like, 'Smokey, this is what I have: \u201cIt's easier to run away than to eat what's on your plate.\u201d' And he was like, 'No, baby. What in the hell? No, no.' He came back, 'It's easier to run away than to look at what would make you stay.' I was like, 'Godammit, Smoke.'\u201d<br />\n<b>\u201dReachin\u2019 2 Much\u201d feat. Lalah Hathaway</b>\n\u201c[Lalah Hathaway] is probably the only one smoother than me. She's just beautiful, lovely, smoky tone, daughter of Donny Hathaway. Just soul legends in the building once again, another amazing artist to be able to work with. She came through right away. She did the session\u2014actually, I was on tour and I was just kind of on the phone like, 'Yo, tell her to try this and try that.' And I came back and it was perfect.\u201d<br />\n<b>\u201cWinners Circle\u201d</b>\n\u201cThis one, the homies Vicky Nguyen and Kelsey Gonzales\u2014they\u2019re the Free Nationals\u2014they brought this beat to me and I just loved it. It made me feel like the early stages of meeting someone and 'is this the one?' I was watching <i>A Bronx Tale</i>, when homegirl reaches over and opens the door for him, and all these different moments that you have when you first meet that person and when you're talking to your folks. Like, 'Mom, I met this girl, what you think, and what you think, Pops?' Whoever you talk to to get that advice. It's like that feeling.\u201d<br />\n<b>\u201cGood Heels\u201d feat. Jazmine Sullivan</b>\n\u201c[Jazmine Sullivan] is like a young Aretha, just like ain't taking no mess. I was like, 'Hey, Jazmine, what you want, you want some water? Yo, I got some songs, I got some musicians, what's up?' She's like, 'Hold on. I'm not ready to speak yet.' She came up with the whole concept and everything: You're doing your thing and your girl is out. She's coming home and you just got through messing with another girl in the house and then thinking you're getting away with it, but then the other girl you was messing with forgot her keys and stuff. The song came about so quick, and we was all trying not to piss Jazmine off. And then we ended up making a little smash.\u201d<br />\n<b>\u201cYada Yada\u201d</b>\n\u201cI remember starting this in Patchwerk Studios in Atlanta. It\u2019s about being on the road and that balance of dealing with the fact that the longer I stay home, the broker we are, so I have to go out and do things. Me being away is a part of it, but when I come back, it's like I realize if I ever take this life for granted, you gotta show me how dumb that is. So it's kinda like having that conversation with my son. I've been getting used to the perks\u2014chicken wings and sushi, doing all kinds of stuff on the road and coming back and breaking bread with my family. Songs like [<i>Oxnard</i>\u2019s] 'Saviers Road' are like an overview of what's going on, and this is another one of those.\u201d<br />\n<b>\u201cKing James\u201d</b>\n\u201cSalute [LeBron] James, salute to Kaepernick, salute to all the modern leaders. All the people that's using their platform to shed light on social issues and issues that are important and sometimes get overlooked. I didn't get to grow up in the days of Muhammad Ali. He was a huge activist and he was one of the biggest athletes, but he was not afraid to talk about what was going on. I feel like this is just the age of awakening. Everybody's just not falling for the okey-doke. And when people feel strongly about something, a lot can happen.\u201d<br />\n<b>\u201cChosen One\u201d feat. Sonyae Elise</b>\n\u201cMe and Sonyae Elise hooked up, longtime collaborators\u2014always a fun time when we're in the studio. We're just like clockwork, natural. We just start writing 50 songs and we have to kinda like wrangle ourselves in. We sampled the homie Mac DeMarco on this one. Even got some of Sean Price vocals in there. It's a cool future-funk tune.\u201d<br />\n<b>\u201cJet Black\u201d feat. Brandy</b>\n\u201cBrandy was one of the hugest stars coming up: <i>Moesha</i>, all the videos, and just the music. It's just incredible when I think about it, like, to make something that's not forced and that feels so natural. And she sounds good. We sound good. It's just a good dance tune. I feel like it's gonna be a nice little overseas joint.\u201d<br />\n<b>\u201cTwilight\u201d</b>\n\u201cPharrell is crazy, man. That's the only person I see that can make a beat, have a meeting, be talking about clothing options and materials and making tea and giving counseling all at the same time. It was just one of the craziest sessions. His brain is moving a mile a minute. He got in there, got his little keyboard out, and just hopped on and just started making the beat right away. He did the backgrounds on this one, and I had Tayla Parx, who co-wrote 'Tints,' she was in there. We were just vibing.\u201d<br />\n<b>\u201cWhat Can We Do?\u201d feat. Nate Dogg</b>\n\"This came through by way of Fredwreck. He was just always around and just always lending a helping hand, whether we needed percussion or a guitar here or keys here. When I was wrapped with <i>Ventura</i>, he was like, 'Yo, I got this joint, it's one of the last joints Nate Dogg did before he had his stroke, and I want you to put it on your album if you love it.' And I heard it, just loved it right away. I wanted to do something a little more creative, where it almost sound like a duet, going back and forth, and something that might sound like we coulda when he was still here. And that's exactly what we did.\u201d",
                          "short": "The stories behind the \u201cpretty\u201d follow-up to last year's \u201cgritty\u201d Oxnard."
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                        "releaseDate": "2018-11-16",
                        "name": "Oxnard",
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                        "editorialNotes": {
                          "standard": "<i>Oxnard</i> is the name of the Southern California city Anderson .Paak grew up in, but the album isn\u2019t really a nostalgic look back at the singer/rapper\u2019s origins. \u201cThis album is bringing the things that I\u2019ve learned from going out and experiencing life outside of my comfort zone and outside of my natural habitat,\u201d he tells Apple Music. \u201cI had to leave and go into the bigger city, into the world, and learn all these things, and now I\u2019m bringing it back to my home front.\u201d<br />\nSince dropping the highly acclaimed <i>Malibu</i> in 2016, .Paak has basically stayed on the road, touring the world a few times over before buckling down to complete his third offering since changing his name from the exponentially cheekier Breezy Lovejoy. As .Paak, he was coming off a star turn as a featured artist on Dr. Dre\u2019s 2015 album, <i>Compton</i>, when <i>Malibu</i> established him as one of the most original voices in popular music. With <i>Oxnard</i>, though, the challenge came in breaking from that norm.<br /> \n\u201cSometimes we would have a good record, but it was like, \u2018I\u2019ve said this,\u2019\u201d .Paak says. \u201c\u2018I don\u2019t need to talk about how good the p*ssy is five times. What else should we say that I\u2019m going through?\u2019\u201d The most striking answer comes in the form of \u201c6 Summers,\u201d a protest song in two parts: the first, funky resilience; the second, a smooth and steely rumination on American politics. Throughout the track, .Paak calls out President Donald Trump by name, addressing immigration, gun control, and the anxiety a large part of the population feels whenever the commander-in-chief tweets.<br /> \nStill, <i>Oxnard</i> is all of the feel-good vibes and upper-echelon hip-hop flows that fans have come to expect, with a plethora of musical influences to boot. Blaxploitation-era guitar strums and flute spurts power album opener \u201cThe Chase.\u201d Dramatic strings and bass-drum hits set the table for a particularly venomous Pusha T verse on \u201cBrother\u2019s Keeper.\u201d .Paak himself rhymes in patois on \u201cLeft to Right.\u201d The album also draws out vintage rhyme performances from kindred OG spirits Snoop Dogg (\u201cAnywhere\u201d) and mentor Dr. Dre (\u201cMansa Musa\u201d). There\u2019s a lot to digest, but in .Paak\u2019s own words, his mission with <i>Oxnard</i> is to release an album that touches all corners of the culture from which he comes. \u201cI want the cuts that they\u2019re going to play in the barbershop, the cuts that the pretty girls are going to play while they\u2019re putting on their makeup,\u201d .Paak says. \u201cI want the hoods to love it.\u201d",
                          "short": "A prodigal son comes home, carrying with him the weight of the world."
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                      "id": "1150640159",
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                        "url": "https://music.apple.com/us/album/yes-lawd/1150640159",
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                        "releaseDate": "2016-10-21",
                        "name": "Yes Lawd!",
                        "recordLabel": "Stones Throw Records",
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                          "standard": "A taster\u2019s menu of bite-sized songs and sonic vignettes, <i>Yes Lawd</i> is a feast for fans of R&B and hip-hop. Knxwledge\u2019s unpredictable beats stoke the imaginative impulses of Anderson .Paak, whose raspy, melodic vocals on \u201cLivvin\u201d and \u201cSuede\u201d erase any division between rapping and singing. The collage of retro samples preserve an indie rap ethos, but with \u201cSidepiece\u201d and \u201cLink Up\u201d the duo sculpts a new strain of sexy, smoked-out soul music.",
                          "short": "A feast of sound from Anderson .Paak and Knxwledge."
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                    {
                      "id": "929712951",
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                        "name": "Venice",
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                          "name": "Venice",
                          "standard": "<i>Venice</i> introduces Anderson .Paak as a thoroughly West Coast artist with an omnivore\u2019s appetite for diverse styles of urban pop. The lushly seductive \u201cMight Be\u201d woos with whispered come-ons and a sample from \u201890s R&B girl group Xscape, while \u201cPut On\u201d nearly tips into full-on drum \u2018n\u2019 bass. Meanwhile, .Paak\u2014a singer who sometimes raps\u2014celebrates his hometown of Venice, CA, on \u201cDogtown,\u201d and spits plenty of pimp talk on \u201cAlready.\u201d Still, he isn\u2019t afraid to admit that women sometimes get the best of him on the jittery-rhythmed \u201cMilk n\u2019 Honey.\u201d",
                          "short": "This Southern California iconoclast blends up an engaging mix of urban pop."
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                        "releaseDate": "2021-11-12",
                        "name": "An Evening With Silk Sonic",
                        "recordLabel": "Aftermath Entertainment/Atlantic",
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                          "standard": "Bruno Mars and Anderson .Paak were already hard at work on what would become <i>An Evening With Silk Sonic</i> when the pandemic shut down live music in early 2020, but they weren\u2019t going to let that stop them from delivering a concert experience to their fans. \u201cAll of a sudden, my shows get canceled, Andy's shows get canceled,\u201d Mars told Ebro Darden during their R&B Now interview. \u201cThis fear of \u2018we\u2019ll never be able to play live again\u2019 comes into play. And to take that away from guys like us, that's all we know. So we're thinking, all right, let's put an album together that sounds like a show.\u201d<br />\nIt began with the project\u2019s lead single, \u201cLeave the Door Open,\u201d a syrupy-sweet piece of retro soul that Mars considers something of a backbone for the project. After its completion, he and .Paak began building out the nine songs of <i>An Evening With Silk Sonic</i>, soliciting help, in the few instances where they needed it, from friends like Bootsy Collins, Thundercat, and even Kenneth \u201cBabyface\u201d Edmonds. Their access to HOF-worthy firepower notwithstanding, the pair always understood that their own combined musicality was the real draw. \u201cWe just wanted it to feel special,\u201d Mars says. \u201cInstead of trying to get too cute with the concept, it's like, what's more special than Anderson .Paak behind a drum set singing a song and me having his back when it's my turn, you know? And the band moving in the same direction? It was just like a musician's dream.\u201d Below, the pair talk through some of the tracks that make <i>An Evening With Silk Sonic</i> an experience fans won\u2019t soon forget. <br />\n<b>\u201cLeave the Door Open\u201d</b>\nBruno Mars: \u201cMe and Andy come from the school of performing and playing live instruments. We wrote \u2018Leave the Door Open\u2019 and it was just one of those songs like, dang, I can\u2019t believe we a part of this, and we don't know what it's gonna do, we don't care that it's a ballad or a whatever you wanna call it\u2014to us, this just feels right and it's important. So no matter what, if it hit No. 1 or it didn't, me and Andy both know that that was the best we could do. And we were cool with that.\u201d<br />\n<b>\u201cFly as Me\u201d</b>\nAnderson .Paak: \u201c\u2018Fly as Me\u2019 is a joint hook [Mars] had for a minute. He was trying to figure out some verses for it, trying to figure out the groove, and we spent some time on that.\u201d\nMars: \u201cAndy goes behind the drum set one day and says, \u2018The groove gotta be like this,\u2019 and starts playing his groove. D\u2019Mile is on the bass, I'm on the guitar. After all the grooves we tried, I don't know what it is, there's something about someone in the studio, someone that you trust, saying, 'It's gotta be like this.\u2019 And the groove you hear him playing, which is not an easy groove to play, was what he showed me and D. And we just followed suit.\u201d<br />\n<b>\u201cAfter Last Night\u201d (with Thundercat & Bootsy Collins)</b>\nMars: \u201cThat one got a lot of Bootsy on it. And my boy Thundercat came in and blessed us. It\u2019s just one of them songs\u2014everything was built to be played live, so that song is one of those we can keep going for 10 minutes.\u201d<br />\n<b>\u201cSmokin Out the Window\u201d</b>\nMars: \u201c\u2018Smokin Out the Window\u2019 was an idea we started four or five years ago on tour. It didn't sound nothing like how it does now, but we just had the idea. On [.Paak\u2019s] birthday, I called him over. He was hysterical that night. After every take he was like, 'I'm the king of R&B! I\u2019m the best! Tell me I\u2019m not the hottest in the game!' We were going back and forth with the lines and who can make who laugh, and we end up finishing that song and he was like, 'I\u2019m out, what we doing tomorrow?'\u201d<br />\n<b>\u201cPut On a Smile\u201d</b>\nMars: \u201cI had a song that I played for Andy and I said, \u2018What do you think about this?\u2019 and he said, \u2018It sucks.\u2019 I start singing it again and he gets behind the drums and that's when the magic happens. So we come up with this hook and these chords and that's when we start cooking, when everything starts moving in the studio. The song's starting to sound real good now. I don\u2019t wanna mess it up, so I call Babyface. I only call Face to know if I got something good, you know, \u2019cause he\u2019ll tell me too, 'This is wack.' For all of us to finish that record together, that was one of my favorite experiences on this album.\u201d<br />\n<b>\u201cSkate\u201d</b>\nMars: \u201cIt's hard to be mad on some rollerskates. So really, that's kinda the essence of this album: If me and Andy were to host a party, what would that feel like? Summertime. Outside. Set up the congas and the drums and amplifiers, and what would that sound like? And this is what our best effort was: 'Skate.'\u201d",
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                          "standard": "Bruno Mars and Anderson .Paak were already hard at work on what would become <i>An Evening With Silk Sonic</i> when the pandemic shut down live music in early 2020, but they weren\u2019t going to let that stop them from delivering a concert experience to their fans. \u201cAll of a sudden, my shows get canceled, Andy's shows get canceled,\u201d Mars told Ebro Darden during their R&B Now interview. \u201cThis fear of \u2018we\u2019ll never be able to play live again\u2019 comes into play. And to take that away from guys like us, that's all we know. So we're thinking, all right, let's put an album together that sounds like a show.\u201d<br />\nIt began with the project\u2019s lead single, \u201cLeave the Door Open,\u201d a syrupy-sweet piece of retro soul that Mars considers something of a backbone for the project. After its completion, he and .Paak began building out the nine songs of <i>An Evening With Silk Sonic</i>, soliciting help, in the few instances where they needed it, from friends like Bootsy Collins, Thundercat, and even Kenneth \u201cBabyface\u201d Edmonds. Their access to HOF-worthy firepower notwithstanding, the pair always understood that their own combined musicality was the real draw. \u201cWe just wanted it to feel special,\u201d Mars says. \u201cInstead of trying to get too cute with the concept, it's like, what's more special than Anderson .Paak behind a drum set singing a song and me having his back when it's my turn, you know? And the band moving in the same direction? It was just like a musician's dream.\u201d Below, the pair talk through some of the tracks that make <i>An Evening With Silk Sonic</i> an experience fans won\u2019t soon forget. <br />\n<b>\u201cLeave the Door Open\u201d</b>\nBruno Mars: \u201cMe and Andy come from the school of performing and playing live instruments. We wrote \u2018Leave the Door Open\u2019 and it was just one of those songs like, dang, I can\u2019t believe we a part of this, and we don't know what it's gonna do, we don't care that it's a ballad or a whatever you wanna call it\u2014to us, this just feels right and it's important. So no matter what, if it hit No. 1 or it didn't, me and Andy both know that that was the best we could do. And we were cool with that.\u201d<br />\n<b>\u201cFly as Me\u201d</b>\nAnderson .Paak: \u201c\u2018Fly as Me\u2019 is a joint hook [Mars] had for a minute. He was trying to figure out some verses for it, trying to figure out the groove, and we spent some time on that.\u201d\nMars: \u201cAndy goes behind the drum set one day and says, \u2018The groove gotta be like this,\u2019 and starts playing his groove. D\u2019Mile is on the bass, I'm on the guitar. After all the grooves we tried, I don't know what it is, there's something about someone in the studio, someone that you trust, saying, 'It's gotta be like this.\u2019 And the groove you hear him playing, which is not an easy groove to play, was what he showed me and D. And we just followed suit.\u201d<br />\n<b>\u201cAfter Last Night\u201d (with Thundercat & Bootsy Collins)</b>\nMars: \u201cThat one got a lot of Bootsy on it. And my boy Thundercat came in and blessed us. It\u2019s just one of them songs\u2014everything was built to be played live, so that song is one of those we can keep going for 10 minutes.\u201d<br />\n<b>\u201cSmokin Out the Window\u201d</b>\nMars: \u201c\u2018Smokin Out the Window\u2019 was an idea we started four or five years ago on tour. It didn't sound nothing like how it does now, but we just had the idea. On [.Paak\u2019s] birthday, I called him over. He was hysterical that night. After every take he was like, 'I'm the king of R&B! I\u2019m the best! Tell me I\u2019m not the hottest in the game!' We were going back and forth with the lines and who can make who laugh, and we end up finishing that song and he was like, 'I\u2019m out, what we doing tomorrow?'\u201d<br />\n<b>\u201cPut On a Smile\u201d</b>\nMars: \u201cI had a song that I played for Andy and I said, \u2018What do you think about this?\u2019 and he said, \u2018It sucks.\u2019 I start singing it again and he gets behind the drums and that's when the magic happens. So we come up with this hook and these chords and that's when we start cooking, when everything starts moving in the studio. The song's starting to sound real good now. I don\u2019t wanna mess it up, so I call Babyface. I only call Face to know if I got something good, you know, \u2019cause he\u2019ll tell me too, 'This is wack.' For all of us to finish that record together, that was one of my favorite experiences on this album.\u201d<br />\n<b>\u201cSkate\u201d</b>\nMars: \u201cIt's hard to be mad on some rollerskates. So really, that's kinda the essence of this album: If me and Andy were to host a party, what would that feel like? Summertime. Outside. Set up the congas and the drums and amplifiers, and what would that sound like? And this is what our best effort was: 'Skate.'\u201d",
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                          "standard": "Bruno Mars and Anderson .Paak were already hard at work on what would become <i>An Evening With Silk Sonic</i> when the pandemic shut down live music in early 2020, but they weren\u2019t going to let that stop them from delivering a concert experience to their fans. \u201cAll of a sudden, my shows get canceled, Andy's shows get canceled,\u201d Mars told Ebro Darden during their R&B Now interview. \u201cThis fear of \u2018we\u2019ll never be able to play live again\u2019 comes into play. And to take that away from guys like us, that's all we know. So we're thinking, all right, let's put an album together that sounds like a show.\u201d<br />\nIt began with the project\u2019s lead single, \u201cLeave the Door Open,\u201d a syrupy-sweet piece of retro soul that Mars considers something of a backbone for the project. After its completion, he and .Paak began building out the nine songs of <i>An Evening With Silk Sonic</i>, soliciting help, in the few instances where they needed it, from friends like Bootsy Collins, Thundercat, and even Kenneth \u201cBabyface\u201d Edmonds. Their access to HOF-worthy firepower notwithstanding, the pair always understood that their own combined musicality was the real draw. \u201cWe just wanted it to feel special,\u201d Mars says. \u201cInstead of trying to get too cute with the concept, it's like, what's more special than Anderson .Paak behind a drum set singing a song and me having his back when it's my turn, you know? And the band moving in the same direction? It was just like a musician's dream.\u201d Below, the pair talk through some of the tracks that make <i>An Evening With Silk Sonic</i> an experience fans won\u2019t soon forget. <br />\n<b>\u201cLeave the Door Open\u201d</b>\nBruno Mars: \u201cMe and Andy come from the school of performing and playing live instruments. We wrote \u2018Leave the Door Open\u2019 and it was just one of those songs like, dang, I can\u2019t believe we a part of this, and we don't know what it's gonna do, we don't care that it's a ballad or a whatever you wanna call it\u2014to us, this just feels right and it's important. So no matter what, if it hit No. 1 or it didn't, me and Andy both know that that was the best we could do. And we were cool with that.\u201d<br />\n<b>\u201cFly as Me\u201d</b>\nAnderson .Paak: \u201c\u2018Fly as Me\u2019 is a joint hook [Mars] had for a minute. He was trying to figure out some verses for it, trying to figure out the groove, and we spent some time on that.\u201d\nMars: \u201cAndy goes behind the drum set one day and says, \u2018The groove gotta be like this,\u2019 and starts playing his groove. D\u2019Mile is on the bass, I'm on the guitar. After all the grooves we tried, I don't know what it is, there's something about someone in the studio, someone that you trust, saying, 'It's gotta be like this.\u2019 And the groove you hear him playing, which is not an easy groove to play, was what he showed me and D. And we just followed suit.\u201d<br />\n<b>\u201cAfter Last Night\u201d (with Thundercat & Bootsy Collins)</b>\nMars: \u201cThat one got a lot of Bootsy on it. And my boy Thundercat came in and blessed us. It\u2019s just one of them songs\u2014everything was built to be played live, so that song is one of those we can keep going for 10 minutes.\u201d<br />\n<b>\u201cSmokin Out the Window\u201d</b>\nMars: \u201c\u2018Smokin Out the Window\u2019 was an idea we started four or five years ago on tour. It didn't sound nothing like how it does now, but we just had the idea. On [.Paak\u2019s] birthday, I called him over. He was hysterical that night. After every take he was like, 'I'm the king of R&B! I\u2019m the best! Tell me I\u2019m not the hottest in the game!' We were going back and forth with the lines and who can make who laugh, and we end up finishing that song and he was like, 'I\u2019m out, what we doing tomorrow?'\u201d<br />\n<b>\u201cPut On a Smile\u201d</b>\nMars: \u201cI had a song that I played for Andy and I said, \u2018What do you think about this?\u2019 and he said, \u2018It sucks.\u2019 I start singing it again and he gets behind the drums and that's when the magic happens. So we come up with this hook and these chords and that's when we start cooking, when everything starts moving in the studio. The song's starting to sound real good now. I don\u2019t wanna mess it up, so I call Babyface. I only call Face to know if I got something good, you know, \u2019cause he\u2019ll tell me too, 'This is wack.' For all of us to finish that record together, that was one of my favorite experiences on this album.\u201d<br />\n<b>\u201cSkate\u201d</b>\nMars: \u201cIt's hard to be mad on some rollerskates. So really, that's kinda the essence of this album: If me and Andy were to host a party, what would that feel like? Summertime. Outside. Set up the congas and the drums and amplifiers, and what would that sound like? And this is what our best effort was: 'Skate.'\u201d",
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                          "standard": "Whether social distancing has your love life flourishing or falling apart, Summer Walker\u2019s <i>Life on Earth</i> offers something for every mood. The Atlanta singer\u2019s lithe voice, in addition to her ability to capture the nuances of romance\u2014from the messiest feelings to the most blissful\u2014makes her R&B some of the most striking and relatable around today. This five-song EP, her follow-up to 2019\u2019s <i>Over It</i>, offers several opportunities to locate yourself within her musings\u2014but even if you can\u2019t, its mellowed production and buttery vocals are enough to take you away. Walker herself wrote a track-by-track overview of the project, exclusively for Apple Music.<br />\n<b>Let It Go</b>\n\u201c\u2018Let It Go\u2019 is about when you are so blindly in love that you fail to see the person you're in love with for who they really are. After ignoring all the signs and your intuition, you get to a point where you just gotta let it go\u2014and doing so will allow better love into your life in the long run.\u201d<br />\n<b>SWV</b>\n\u201cSWV is an R&B trio who became one of the most successful R&B groups of the \u201990s, and I reference their hits \u2018Weak\u2019 and \u2018Rain\u2019 in the song. But it's basically about loving someone so good that you make sure they don't leave.\u201d<br />\n<b>My Affection</b>\n\u201c\u2018My Affection\u2019 features and was written by PARTYNEXTDOOR.\u201d<br />\n<b>White Tee</b>\n\u201c\u2018White Tee\u2019 is another song featuring NO1-NOAH, and in the chorus he talks about treating someone like a white tee. You know you always wanna keep a white tee fresh and clean, but in my verse, I'm basically saying the opposite.\u201d<br />\n<b>Deeper</b>\n\u201c\u2018Deeper\u2019 was actually made around the same time we made \u2018Playing Games\u2019 last year. It's a song that talks about how to go deeper in love. In this scenario, say there\u2019s a certain someone that you have fallen for and you all in but it don\u2019t feel like y'all on the same page\u2014you keep your heart open and believe all the sweet talk and promises they make. Over time, you get them to understand that it\u2019s deeper than just saying you will do something\u2014they actually gotta put forth real effort and keep their word.\u201d",
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                          "standard": "Summer Walker is the definition of an introvert. The Atlanta R&B newcomer and 2019 Up Next artist keeps to herself and prefers the sanctuary of the studio. \u201cWhenever something is completely bothering me, I like to hold it in because I don\u2019t talk to a lot of people,\u201d Walker tells Apple Music. \u201cThat\u2019s why, a lot of times, my songs are emotional.\u201d<br />\nBut however quiet her demeanor is in public, she\u2019s outspoken on this four-song EP recorded live in her hometown. The bare-bones acoustic \u201cRiot\u201d and Latin-tinged \u201cGrave\u201d ask potential suitors for clarity instead of head games. The jazzy \u201cWasted\u201d showcases her vocal dexterity while linking love and addiction (\u201cWasted time, my lover/Throw it back and I feel the burn\u201d). On \u201cSettling,\u201d a bittersweet rumination on relationship woes, her timing is decades beyond her 22 years.<br />\nIf you often feel the need to be alone with your feelings, Walker\u2019s got you. <i>CLEAR</i> is the raw, uncut feed direct from her soul. \u201cWhether it\u2019s happiness, sadness, anger, or jealousy, I\u2019ve never been a girl who writes in her diary,\u201d Walker says. \u201cPro Tools sessions are my diary sessions.\u201d",
                          "short": "This Atlanta R&B singer shall inherit the earth."
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                          "standard": "\u201cTake this opportunity to learn from my mistakes. You don\u2019t have to guess if something is love. Love is shown through actions. Stop making excuses for people who don\u2019t show up for you. Don\u2019t ignore the red flags. And don\u2019t think you have to stay somewhere \u2019cause you can\u2019t find better\u2014you can and you will. Don\u2019t settle for less\u2014you don\u2019t deserve it and neither does your family.\u201d \u2014Summer Walker, in an exclusive message she provided to Apple Music about her second album",
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                          "standard": "Summer Walker is the definition of an introvert. The Atlanta R&B newcomer and 2019 Up Next artist keeps to herself and prefers the sanctuary of the studio. \u201cWhenever something is completely bothering me, I like to hold it in because I don\u2019t talk to a lot of people,\u201d Walker tells Apple Music. \u201cThat\u2019s why, a lot of times, my songs are emotional.\u201d<br />\nBut however quiet her demeanor is in public, she\u2019s outspoken on this four-song EP recorded live in her hometown. The bare-bones acoustic \u201cRiot\u201d and Latin-tinged \u201cGrave\u201d ask potential suitors for clarity instead of head games. The jazzy \u201cWasted\u201d showcases her vocal dexterity while linking love and addiction (\u201cWasted time, my lover/Throw it back and I feel the burn\u201d). On \u201cSettling,\u201d a bittersweet rumination on relationship woes, her timing is decades beyond her 22 years.<br />\nIf you often feel the need to be alone with your feelings, Walker\u2019s got you. <i>CLEAR</i> is the raw, uncut feed direct from her soul. \u201cWhether it\u2019s happiness, sadness, anger, or jealousy, I\u2019ve never been a girl who writes in her diary,\u201d Walker says. \u201cPro Tools sessions are my diary sessions.\u201d",
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                          "standard": "Whether social distancing has your love life flourishing or falling apart, Summer Walker\u2019s <i>Life on Earth</i> offers something for every mood. The Atlanta singer\u2019s lithe voice, in addition to her ability to capture the nuances of romance\u2014from the messiest feelings to the most blissful\u2014makes her R&B some of the most striking and relatable around today. This five-song EP, her follow-up to 2019\u2019s <i>Over It</i>, offers several opportunities to locate yourself within her musings\u2014but even if you can\u2019t, its mellowed production and buttery vocals are enough to take you away. Walker herself wrote a track-by-track overview of the project, exclusively for Apple Music.<br />\n<b>Let It Go</b>\n\u201c\u2018Let It Go\u2019 is about when you are so blindly in love that you fail to see the person you're in love with for who they really are. After ignoring all the signs and your intuition, you get to a point where you just gotta let it go\u2014and doing so will allow better love into your life in the long run.\u201d<br />\n<b>SWV</b>\n\u201cSWV is an R&B trio who became one of the most successful R&B groups of the \u201990s, and I reference their hits \u2018Weak\u2019 and \u2018Rain\u2019 in the song. But it's basically about loving someone so good that you make sure they don't leave.\u201d<br />\n<b>My Affection</b>\n\u201c\u2018My Affection\u2019 features and was written by PARTYNEXTDOOR.\u201d<br />\n<b>White Tee</b>\n\u201c\u2018White Tee\u2019 is another song featuring NO1-NOAH, and in the chorus he talks about treating someone like a white tee. You know you always wanna keep a white tee fresh and clean, but in my verse, I'm basically saying the opposite.\u201d<br />\n<b>Deeper</b>\n\u201c\u2018Deeper\u2019 was actually made around the same time we made \u2018Playing Games\u2019 last year. It's a song that talks about how to go deeper in love. In this scenario, say there\u2019s a certain someone that you have fallen for and you all in but it don\u2019t feel like y'all on the same page\u2014you keep your heart open and believe all the sweet talk and promises they make. Over time, you get them to understand that it\u2019s deeper than just saying you will do something\u2014they actually gotta put forth real effort and keep their word.\u201d",
                          "short": "A mellowed escape into the heart\u2019s messiest and most blissful corridors."
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                          "standard": "Summer Walker isn\u2019t one to floss; the Atlanta R&B singer prefers to remain in the shadows and let her music do the talking. \u201cWhen people come up and ask what I do, I tell them I clean houses. I don\u2019t tell them I do music,\u201d Walker told Beats 1. That low profile gives her debut album a mysterious, nocturnal patina that\u2019s steeped in bare-bones emotion. Her voice is a sultry murmur exploring carnal desires (\u201cGirls Need Love\u201d) as well as safe spaces (\u201cDeep\u201d). Her hit single \u201cCPR\u201d was born out of a tragic situation, one she transformed into a therapeutic song about self-revival. That\u2019s just how she rolls, Walker told Beats 1: \u201cI don\u2019t really have a lot of friends, so I put it to paper. I kind of counsel myself with music.\u201d",
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                  "standard": "With <i>Pluto x Baby Pluto</i>, Future (Pluto) and Lil Uzi Vert (Baby Pluto) make good on the long-standing musical relationship that has already yielded catalog standouts like \u201cToo Much Sauce,\u201d \u201cWassup,\u201d and \u201cOver Your Head,\u201d among others. If the implication in their nicknames is that Uzi is some sort of secondary version of Future, things don\u2019t play out that way here. The two are artistic equals across <i>Pluto x Baby Pluto</i>\u2014and probably the rap world at large, if we\u2019re being honest. When one follows the other in verse, it\u2019s because the first has politely yielded the floor. Any of the songs on <i>Pluto x Baby Pluto</i>\u2014save for Uzi\u2019s solo outing \u201cLullaby\u201d\u2014could exist in either of their catalogs without the other, but when you\u2019re as locked in as these two are, why would you rap about \u201cSleeping on the Floor\u201d or \u201cDrankin N Smokin\u201d or how you \u201cBought a Bad Bitch\u201d without including your bestie?",
                  "short": "Find you somebody who looks at you the way these MCs look at each other."
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                          "standard": "Future delivered <i>BEASTMODE 2</i>, the sequel to his 2015 mixtape, to Apple Music with a short, sweet message: \u201cLuv, Pluto.\u201d The greeting-card sign-off harks back to his 2012 debut album, <i>Pluto</i>, and while the prolific rapper has since released five solo albums and many collaborations, <i>BEASTMODE 2</i> indeed feels like a reward to those who\u2019ve been following along since the start. Like its predecessor, the melodic, piano-filled, nine-track mixtape is entirely produced by fellow Atlantan Zaytoven. But while both mixtapes celebrate his successes, they also share an underlying darkness, detailing addiction and despondency. \u201cDamn, I hate the real me,\u201d he sings on the solemn final track.",
                          "short": "Pluto and Zaytoven reunite for the sequel to their 2015 staple."
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                          "standard": "Future\u2019s second studio full-length begins with the menacing sounds of a single, serpentine guitar line and a carbonated beverage being opened and sipped. Like much of <i>DS2</i>\u2014also known as <i>Dirty Sprite 2</i>\u2014\u201cThought It Was A Drought\u201d finds the rapper floating along in a syrupy haze, combining effervescing vocals and hypnotic production. Where \u201cThe Percocet & Stripper Joint\u201d is a plush and unapologetically languid ballad, \u201cWhere Ya At\u201d sees the self-proclaimed Future Hendrix joining forces with Drake for a psychedelic banger. ",
                          "short": "From the A to deep space, one cup at a time. "
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                          "standard": "For someone who spent the better part of his career celebrating the chaos his drug use enabled, the title of Future\u2019s eighth studio album, <i>High Off Life</i>, reads like an attempt at a rebrand. But it isn\u2019t. For one, he\u2019ll claim to still very much be getting \u201chigh off\u201d drugs. But further to that, life as Future knows it is the same high-octane carousel ride it\u2019s been since he began telling us his story, spinning continually through declarations of invincibility (\u201cTouch the Sky,\u201d \u201cSolitaires,\u201d \u201cTrillionaire\u201d), reflections of past trauma (\u201cPosted With Demons,\u201d \u201cOne of My,\u201d \u201cPray for a Key\u201d), encounters with beautiful and exclusive women (\u201cToo Comfortable,\u201d \u201cOuter Space Bih\u201d), and, yes, heavy drug use (\u201cTrapped in the Sun,\u201d \u201cHiTek Tek\u201d). Future on <i>High Off Life</i> is who he told us he was on the title track of his second album, <i>Honest</i>: \u201cI'm a rock star for life, I'm just being honest.\u201d",
                          "short": "One of modern rap\u2019s most influential MCs revels in his greatness."
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                          "standard": "SuperFuture. Fire Marshal Future. Astronaut Kid. Pluto. Hndrxx. These are just a few alter egos of the MC born Nayvadius Wilburn, taken up across a decade-long career as one of Atlanta\u2019s most prolific and inventive voices. As a presentation of yet another identity, <i>Future Hndrxx Presents: The WIZRD</i>\u2014the rapper\u2019s seventh solo album\u2014is less a wholly separate Future than one highlighting elements of them all.<br /> \nFuture reaches back into his own catalog from the outset: \u201cTryna run a billion up until my ankle pop\u201d line from opening track \u201cNever Stop\u201d recalls 2011\u2019s \u201cChampionship Music,\u201d where he raps, \u201cMoney coming in from every angle/Paper chasing, running to it tryna break my ankle.\u201d Over the woozy, Tay Keith-produced \u201cTemptation,\u201d he alternates between a conversational flow and the R&B vocal runs he leaned into on 2012\u2019s <i>Astronaut Status</i> mixtape. \u201cCall the Coroner\u201d and \u201cStick to the Models\u201d are as dark as they are celebratory, chock-full of the unabashed nihilism that made 2014\u2019s <i>Monster</i> so powerful.<br /> \nOn the Wheezy-produced \u201cKrazy but True,\u201d Future alludes to the rationale behind continuously refining his style: \u201cI\u2019m God to you n****s/I work too hard just to spoil you n****s/You need to pay me my respect/Your socks, rings, and your lean/The way you drop your mixtapes, ad-libs, and everything.\u201d It\u2019s a very gentle ear-flick to the many MCs who\u2019ve borrowed styles and ideas from a man who identifies as The WIZRD. Fortunately, his <i>Future Hndrxx Presents: The WIZRD</i> project includes only original, homegrown ingredients.",
                          "short": "Atlanta\u2019s prolific trap sorcerer is back stirring the cauldron."
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                          "standard": "<i>What a Time to Be Alive</i> captures Drake and Future at the height of their powers. Recorded in six days, their interplay is respectful as it is complementary, matching Drake\u2019s inward-facing narratives with Future\u2019s personal demon-slaying. Club anthems like \u201cJumpman,\u201d \u201cDigital Dash,\u201d and \u201cDiamonds Dancing\u201d fulfill the rap nerd fantasy of two superheroes trading lyrical blows in the octagon.",
                          "short": "Two MCs at the height of their powers."
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                          "standard": "<i>What a Time to Be Alive</i> captures Drake and Future at the height of their powers. Recorded in six days, their interplay is respectful as it is complementary, matching Drake\u2019s inward-facing narratives with Future\u2019s personal demon-slaying. Club anthems like \u201cJumpman,\u201d \u201cDigital Dash,\u201d and \u201cDiamonds Dancing\u201d fulfill the rap nerd fantasy of two superheroes trading lyrical blows in the octagon.",
                          "short": "Two MCs at the height of their powers."
                        },
                        "isCompilation": false,
                        "contentRating": "explicit"
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                    },
                    {
                      "id": "1298483081",
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                        "artistName": "Future & Young Thug",
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                        "url": "https://music.apple.com/us/album/super-slimey/1298483081",
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                          "standard": "Future and Young Thug are kindred spirits, but working together has been rare, usually coming at the behest of a third party. As two of Atlanta's most prolific and creative MCs, they share a fearless approach to melody and intonation, and on <i>SUPER SLIMEY</i>, both relish the chance to run with someone on the same level. <i>SUPER SLIMEY</i> is dense with bars. The turbo-charged \"Three\" is as much duel as collaboration, and on \u201c200,\" they split their respective verses between singing and rapping, with very little stylistic overlap. But when Future somehow finds new ground with his sleep-deprived rasp on \"Group Home,\u201d it becomes clear these rappers have stretched their voices in just about every direction possible.",
                          "short": "Two of hip-hop\u2019s most innovative MCs show out for each other.",
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                        "releaseDate": "2018-10-19",
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                          "standard": "If <i>Goodbye & Good Riddance</i> was Juice WRLD\u2019s coming-out, his mixtape with Future, <i>WRLD ON DRUGS</i>, details the decadent after-party. Gone are the woeful feels that propelled the late Chicago rapper into the emo/hip-hop stratosphere. In their place are euphoric end-zone celebrations with his new BFF, the godfather of the current wave of Auto-Tuned rap crooners cosigning one of his upstart scions. Together, they formed a potent tag team whose melodic styles complement and often play off each other. They go boast-for-boast on \u201cFine China\u201d and count stacks with Young Thug on \u201cRed Bentley.\u201d Songs like \u201cOxy\u201d and \u201cAin\u2019t Livin Right\u201d echo the nihilistic tone set by <i>Goodbye</i> tracks \u201cLean Wit Me\u201d and \u201cBlack & White.\u201d And when the intoxicants wear off, Future is left with bleary-eyed moments of clarity (\u201cAfterlife\u201d). Then on \u201cHard Work Pays Off,\u201d the two tally the wins and losses and toast with plastic cups. ",
                          "short": "Two rap titans feel no pain."
                        },
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                          "standard": "Released within two weeks of his 2017 self-titled project, <i>HNDRXX</i> is a master statement of soulful, sly R&B from the Atlanta rapper. If <i>FUTURE</i> echoed the spontaneity and double-time flow of his now-classic mixtapes, the follow-up is stacked with anthems that are calibrated for a massive mainstream audience. Two marquee cameos\u2014The Weeknd and Rihanna\u2014add extra star power, but highlights like \u201cDamage,\u201d \u201cIncredible,\u201d and \u201cFresh Air\u201d are all about Future\u2019s brilliant mix of brutal honestly and unchecked hedonism.",
                          "short": "Soulful, sly R&B with cameos from Rihanna and The Weeknd."
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                          "standard": "With <i>Pluto x Baby Pluto</i>, Future (Pluto) and Lil Uzi Vert (Baby Pluto) make good on the long-standing musical relationship that has already yielded catalog standouts like \u201cToo Much Sauce,\u201d \u201cWassup,\u201d and \u201cOver Your Head,\u201d among others. If the implication in their nicknames is that Uzi is some sort of secondary version of Future, things don\u2019t play out that way here. The two are artistic equals across <i>Pluto x Baby Pluto</i>\u2014and probably the rap world at large, if we\u2019re being honest. When one follows the other in verse, it\u2019s because the first has politely yielded the floor. Any of the songs on <i>Pluto x Baby Pluto</i>\u2014save for Uzi\u2019s solo outing \u201cLullaby\u201d\u2014could exist in either of their catalogs without the other, but when you\u2019re as locked in as these two are, why would you rap about \u201cSleeping on the Floor\u201d or \u201cDrankin N Smokin\u201d or how you \u201cBought a Bad Bitch\u201d without including your bestie?",
                          "short": "Find you somebody who looks at you the way these MCs look at each other."
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                          "standard": "With <i>Pluto x Baby Pluto</i>, Future (Pluto) and Lil Uzi Vert (Baby Pluto) make good on the long-standing musical relationship that has already yielded catalog standouts like \u201cToo Much Sauce,\u201d \u201cWassup,\u201d and \u201cOver Your Head,\u201d among others. If the implication in their nicknames is that Uzi is some sort of secondary version of Future, things don\u2019t play out that way here. The two are artistic equals across <i>Pluto x Baby Pluto</i>\u2014and probably the rap world at large, if we\u2019re being honest. When one follows the other in verse, it\u2019s because the first has politely yielded the floor. Any of the songs on <i>Pluto x Baby Pluto</i>\u2014save for Uzi\u2019s solo outing \u201cLullaby\u201d\u2014could exist in either of their catalogs without the other, but when you\u2019re as locked in as these two are, why would you rap about \u201cSleeping on the Floor\u201d or \u201cDrankin N Smokin\u201d or how you \u201cBought a Bad Bitch\u201d without including your bestie?",
                          "short": "Find you somebody who looks at you the way these MCs look at each other."
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                          "standard": "It feels right that Future\u2019s first self-titled release allows his different personas to grab the mic: Depending on the track, he\u2019s the party starter, the ladies' man, the hustler, or the hedonist. <i>FUTURE</i> pays homage to the ATL rapper\u2019s roots (and now-legendary string of underground mixtapes) with plenty of 808 boom, warped synths, and jittery rhymes. When his lyrics look back on the experiences that shaped him\u2014especially with tracks like \u201cFeds Did a Sweep\u201d or \u201cWhen I Was Broke\u201d\u2014it's a hypnotic glimpse into the mind of Atlanta\u2019s trap king. ",
                          "short": "His self-titled release is all about 808 boom and high-octane rhymes."
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                          "standard": "Since at least the days of Future's <i>Monster</i> mixtape, his fans have feared that the self-destructive tendencies he rapped about would be his undoing. Myth-making or not, his catalog is steeped in a brand of nihilism so reckless that some of the fun of listening stems from anticipating just what he might say next. The answer this go-round, though, is a request for help. Or maybe just an acknowledgment of his issues.<br />\n<i>SAVE ME</i>, the seven-song EP that follows Future\u2019s last full-length (January 2019\u2019s <i>The WIZRD</i>), is a tallying of the MC\u2019s misdeeds but less a formal apology than an extended moment of vulnerability. He details his issues with substance abuse on \u201cXanaX Damage,\u201d and then womanizing on \u201cSt. Lucia\u201d and \u201cGovernment Official.\u201d He confesses a seemingly insatiable ego on \u201cPlease Tell Me,\u201d but makes time to detail just how good a potential lover would have it riding with him on \u201cShotgun.\u201d He\u2019s distorted his voice on closer \u201cLove Thy Enemies\u201d in a way that makes it sound like he\u2019s rapping from the center of a codeine haze, but the detail with which he recounts the intricacies of a failed relationship seems like it could have only come from a sober mind.",
                          "short": "The WIZRD lets us watch him dance with his demons."
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                        "releaseDate": "2016-02-06",
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                          "standard": "From the moment a ratcheting hi-hat introduces \u201cAin\u2019t No Time,\u201d Future brings fiery intensity to <i>EVOL</i>, leaving behind the syrupy laments of <i>DS2</i> with confidence and muscle. The Atlanta rapper\u2019s inspirations haven\u2019t changed\u2014he\u2019s still reveling in champagne baths, sexual conquest, and the spoils of fame\u2014but he leans forward with forceful energy on highlights like \u201cMaybach\u201d and \u201cLie to Me.\u201d The album\u2019s steamiest moment, \u201cLow Life,\u201d adds a seductive guest vocal from The Weeknd.",
                          "short": "Future brings fiery intensity, a wealth of production talent, and a guest vocal by The Weeknd."
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                          "short": "\u201cTried to make me a pop star and they made a monster.\u201d How it began."
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                          "standard": "The star power of the guests on Future's second album\u2014Kanye, Drake, Pharrell, Lil Wayne, and Andr\u00e9 3000, among others\u2014speaks to the near-insurmountable heights the Atlanta rapper has reached since his 2012 debut, <i>Pluto</i>. That he shows them all up explains how he got there. Take \"I Won,\" a solemn beat over which Kanye and Future exult their \"trophy\" wives. Where 'Ye rifles off shallow boasts, Future's verses are sincere, almost touching. On the sprightly surprise standout \"Benz Friendz,\" Future's ATL bro Andr\u00e9 3000 dances around the whimsical beats like a peacock, but it's Future's husky baritone that brings the party. Dominated by Mike WiLL Made It's 16-ton production (tracks like \"My Momma\" and \"Honest\" lumber like they're dragging chains), <i>Honest</i> demolishes the line between hip-hop and R&B. Its Auto-Tune hooks, rat-a-tat verses, and confessional lyrics exemplify the best of both genres in 2014."
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                          "standard": "The 2018 remake of '70s blaxploitation classic <i>Super Fly</i> is about a young hustler trying to escape street life in Atlanta\u2014so who better to helm a soundtrack to such travails than the rapper who\u2019s had the city eating out of his palm for years? Future appears on 10 of these 13 tracks, flexing his usual wide range of dope-boy emotions. He's an unrepentant lothario on \u201cNo Shame\u201d (featuring PARTYNEXTDOOR) and a gleeful showboat on \u201cShow My Chain Some Love\u201d with Young Thug. Like any good hero\u2019s tale, the album has tender moments as well: Miguel plays a suave balladeer on \u201cR.A.N.,\u201d and there's a smoldering duet from Khalid and H.E.R. in which the pair hold each responsible for their own shortcomings as lovers.",
                          "short": "An Atlanta hustler's life story as told by Future and friends."
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                          "short": "The Luv Is Rage 2 follow-up is finally here."
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                          "standard": "Lil Uzi Vert\u2019s 2015 breakthrough, <i>Luv Is Rage</i>, was a surreal hash of trap beats, strong melodies, and endless personality\u2014a benchmark for rap in the '10s. The streak continues with <i>The Perfect LUV Tape</i>. Like Young Thug, Uzi\u2019s strength is his versatility: one minute he\u2019s dishing out loose, singsongy anthems (\u201cDo What I Want\u201d), the next he\u2019s packing syllables like sardines (the ominous \u201cMoney Mitch\u201d), flipping between empathic and opaque, chilly and warm, often in the space of a verse. Another highlight, \u201cSeven Million,\u201d features the godfather of the sound\u2014Future.",
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                          "standard": "With <i>Pluto x Baby Pluto</i>, Future (Pluto) and Lil Uzi Vert (Baby Pluto) make good on the long-standing musical relationship that has already yielded catalog standouts like \u201cToo Much Sauce,\u201d \u201cWassup,\u201d and \u201cOver Your Head,\u201d among others. If the implication in their nicknames is that Uzi is some sort of secondary version of Future, things don\u2019t play out that way here. The two are artistic equals across <i>Pluto x Baby Pluto</i>\u2014and probably the rap world at large, if we\u2019re being honest. When one follows the other in verse, it\u2019s because the first has politely yielded the floor. Any of the songs on <i>Pluto x Baby Pluto</i>\u2014save for Uzi\u2019s solo outing \u201cLullaby\u201d\u2014could exist in either of their catalogs without the other, but when you\u2019re as locked in as these two are, why would you rap about \u201cSleeping on the Floor\u201d or \u201cDrankin N Smokin\u201d or how you \u201cBought a Bad Bitch\u201d without including your bestie?",
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                          "standard": "After two years away from music due in part to his son\u2019s illness, modern pop\u2019s great crooner Michael Bubl\u00e9 returns with his 10th album. Bringing his smooth and spirited vocals to essentials from the romantic songbook, the Canadian reimagines \u201cMy Funny Valentine\u201d as a Bond theme that never was, dovetails gracefully with C\u00e9cile McLorin Salvant on tender duet \u201cLa vie en rose,\u201d and stirs us with his cinematic rendition of \u201cWhen I Fall in Love.\u201d Amid this rousing collection of classics, the aching \u201cForever Now,\u201d one of two original songs, still stands out, speaking of a very different kind of love\u2014the unbreakable bond between a father and son, and the journey they\u2019ve been on together.",
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                          "standard": "The crooner defies expectations on his self-produced seventh LP. While <i>Nobody But Me</i> still features plenty of big band romance (as well as a stirring cover of The Beach Boys\u2019 \u201cGod Only Knows\u201d), the acoustic pop of \u201cI Believe in You\u201d and rap-enriched \u201cNobody But Me\u201d (which features a verse from The Roots\u2019 Black Thought) prove that Bubl\u00e9\u2019s much more than a throwback.",
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                          "standard": "Heartfelt and stylistically adventurous, Bubl\u00e9 stakes his claim to be the king of modern crooning. While his voice can deliver pain as incisively as a nailgun, his infectious swagger betrays an optimistic belief in romance. That\u2019s best captured on new song \u201cHaven\u2019t Met You Yet\u201d, the poppiest moment on an album that confidently re-shapes old classics with soul (\u201cCrazy Love\u201d), Bond-theme theatre (\u201cCry Me a River\u201d) and swing (\u201cAll I Do Is\u00a0Dream of You\u201d).",
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                          "standard": "<i>To Be Loved</i>, mixes big production covers\u2014including \u201cYou\u2019ve Got a Friend in Me\u201d from <i>Toy Story</i> and \u201cHave I Told You Lately That I Love You\u201d\u2014with originals like the lead single, \u201cIt\u2019s a Beautiful Day.\u201d Add in guests Bryan Adams, Naturally 7, The Puppini Sisters, and actress Reese Witherspoon (\u201cSomething Stupid\u201d) and <i>To Be Loved</i> is like a jaunty musical/variety show hosted by the impeccable showman Michael Bubl\u00e9."
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                        "name": "Over It",
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                        "editorialNotes": {
                          "standard": "Summer Walker doesn\u2019t look the way she sounds. The Atlanta singer\u2019s face tattoos are more in line with the aesthetic of her hometown\u2019s many hip-hop superstars than that of \u201990s golden-era R&B acts like Mary J. Blige, Xscape, and SWV, but the makeover feels right for the moment. On Walker\u2019s heavily anticipated <i>Over It</i>, which follows her 2018 breakout mixtape <i>Last Day of Summer</i>\u2014as well as the <i>CLEAR</i> EP\u2014the singer recontextualizes some familiar-sounding frustrations and reckonings about hard-earned romantic truths by way of throwback sounds and contemporary real talk (all of which sounds even richer thanks to Spatial Audio with Dolby Atmos).<br />\n\u201cDid I ever ask you to take me to go shopping in Paris?/Or go sailing overseas and just drape me in Gucci?\u201d she asks on the Bryson Tiller duet \u201cPlaying Games.\u201d \u201cNo, I never had an issue, go to the club with your boys, baby/I never wanted you to stay too long, just wanted you to show me off.\u201d Later in the song she borrows a few bars from \u201cSay My Name,\u201d Destiny\u2019s Child\u2019s eternally catchy ballad of the underappreciated lover. <i>Over It</i> is indeed peppered with references to the R&B of Walker\u2019s childhood: Producer London On Da Track utilizes a vintage 702 sample for \u201cBody\u201d and builds the beat for \u201cCome Thru,\u201d which features Usher, on the keyboard line of the ATL icon\u2019s 1997 \u201cYou Make Me Wanna...\u201d The album also boasts guest spots from Drake, 6LACK, A Boogie wit da Hoodie, and long-dormant moody-R&B hero PARTYNEXTDOOR.<br />\nThe vantage point of <i>Over It</i>, though, is wholly the singer\u2019s own. The exchanges in Walker\u2019s verses sound like they could have been grafted directly from text messages or pulled from a FaceTime conversation. \u201cAm I really that much to handle?\u201d she opines on the title track. \u201cYou wanna be a good friend to me/Why don\u2019t you pour up that Hennessy/Light up a few blunts so we can get high,\u201d she sings on \u201cTonight.\u201d \u201cToo much Patr\u00f3n will have you calling his phone/Have you wanting some more,\u201d she advises on \u201cDrunk Dialing\u2026LODT.\u201d Walker\u2019s words are so relatable they seem destined to become social media captions. <i>Over It</i>, then, is a project whose title betrays its maker\u2019s constitution, one certain only to leave fans wanting more.",
                          "short": "Walker\u2019s throwback R&B gets richer thanks to Spatial."
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                          "standard": "Summer Walker isn\u2019t one to floss; the Atlanta R&B singer prefers to remain in the shadows and let her music do the talking. \u201cWhen people come up and ask what I do, I tell them I clean houses. I don\u2019t tell them I do music,\u201d Walker told Beats 1. That low profile gives her debut album a mysterious, nocturnal patina that\u2019s steeped in bare-bones emotion. Her voice is a sultry murmur exploring carnal desires (\u201cGirls Need Love\u201d) as well as safe spaces (\u201cDeep\u201d). Her hit single \u201cCPR\u201d was born out of a tragic situation, one she transformed into a therapeutic song about self-revival. That\u2019s just how she rolls, Walker told Beats 1: \u201cI don\u2019t really have a lot of friends, so I put it to paper. I kind of counsel myself with music.\u201d",
                          "short": "Atlanta\u2019s rising R&B star retreats to the sanctuary of her mind."
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                          "standard": "Whether social distancing has your love life flourishing or falling apart, Summer Walker\u2019s <i>Life on Earth</i> offers something for every mood. The Atlanta singer\u2019s lithe voice, in addition to her ability to capture the nuances of romance\u2014from the messiest feelings to the most blissful\u2014makes her R&B some of the most striking and relatable around today. This five-song EP, her follow-up to 2019\u2019s <i>Over It</i>, offers several opportunities to locate yourself within her musings\u2014but even if you can\u2019t, its mellowed production and buttery vocals are enough to take you away. Walker herself wrote a track-by-track overview of the project, exclusively for Apple Music.<br />\n<b>Let It Go</b>\n\u201c\u2018Let It Go\u2019 is about when you are so blindly in love that you fail to see the person you're in love with for who they really are. After ignoring all the signs and your intuition, you get to a point where you just gotta let it go\u2014and doing so will allow better love into your life in the long run.\u201d<br />\n<b>SWV</b>\n\u201cSWV is an R&B trio who became one of the most successful R&B groups of the \u201990s, and I reference their hits \u2018Weak\u2019 and \u2018Rain\u2019 in the song. But it's basically about loving someone so good that you make sure they don't leave.\u201d<br />\n<b>My Affection</b>\n\u201c\u2018My Affection\u2019 features and was written by PARTYNEXTDOOR.\u201d<br />\n<b>White Tee</b>\n\u201c\u2018White Tee\u2019 is another song featuring NO1-NOAH, and in the chorus he talks about treating someone like a white tee. You know you always wanna keep a white tee fresh and clean, but in my verse, I'm basically saying the opposite.\u201d<br />\n<b>Deeper</b>\n\u201c\u2018Deeper\u2019 was actually made around the same time we made \u2018Playing Games\u2019 last year. It's a song that talks about how to go deeper in love. In this scenario, say there\u2019s a certain someone that you have fallen for and you all in but it don\u2019t feel like y'all on the same page\u2014you keep your heart open and believe all the sweet talk and promises they make. Over time, you get them to understand that it\u2019s deeper than just saying you will do something\u2014they actually gotta put forth real effort and keep their word.\u201d",
                          "short": "A mellowed escape into the heart\u2019s messiest and most blissful corridors."
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                          "standard": "Summer Walker is the definition of an introvert. The Atlanta R&B newcomer and 2019 Up Next artist keeps to herself and prefers the sanctuary of the studio. \u201cWhenever something is completely bothering me, I like to hold it in because I don\u2019t talk to a lot of people,\u201d Walker tells Apple Music. \u201cThat\u2019s why, a lot of times, my songs are emotional.\u201d<br />\nBut however quiet her demeanor is in public, she\u2019s outspoken on this four-song EP recorded live in her hometown. The bare-bones acoustic \u201cRiot\u201d and Latin-tinged \u201cGrave\u201d ask potential suitors for clarity instead of head games. The jazzy \u201cWasted\u201d showcases her vocal dexterity while linking love and addiction (\u201cWasted time, my lover/Throw it back and I feel the burn\u201d). On \u201cSettling,\u201d a bittersweet rumination on relationship woes, her timing is decades beyond her 22 years.<br />\nIf you often feel the need to be alone with your feelings, Walker\u2019s got you. <i>CLEAR</i> is the raw, uncut feed direct from her soul. \u201cWhether it\u2019s happiness, sadness, anger, or jealousy, I\u2019ve never been a girl who writes in her diary,\u201d Walker says. \u201cPro Tools sessions are my diary sessions.\u201d",
                          "short": "This Atlanta R&B singer shall inherit the earth."
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                          "standard": "\u201cTake this opportunity to learn from my mistakes. You don\u2019t have to guess if something is love. Love is shown through actions. Stop making excuses for people who don\u2019t show up for you. Don\u2019t ignore the red flags. And don\u2019t think you have to stay somewhere \u2019cause you can\u2019t find better\u2014you can and you will. Don\u2019t settle for less\u2014you don\u2019t deserve it and neither does your family.\u201d \u2014Summer Walker, in an exclusive message she provided to Apple Music about her second album",
                          "short": "\u201cTake this opportunity to learn from my mistakes.\u201d"
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                          "standard": "Summer Walker is the definition of an introvert. The Atlanta R&B newcomer and 2019 Up Next artist keeps to herself and prefers the sanctuary of the studio. \u201cWhenever something is completely bothering me, I like to hold it in because I don\u2019t talk to a lot of people,\u201d Walker tells Apple Music. \u201cThat\u2019s why, a lot of times, my songs are emotional.\u201d<br />\nBut however quiet her demeanor is in public, she\u2019s outspoken on this four-song EP recorded live in her hometown. The bare-bones acoustic \u201cRiot\u201d and Latin-tinged \u201cGrave\u201d ask potential suitors for clarity instead of head games. The jazzy \u201cWasted\u201d showcases her vocal dexterity while linking love and addiction (\u201cWasted time, my lover/Throw it back and I feel the burn\u201d). On \u201cSettling,\u201d a bittersweet rumination on relationship woes, her timing is decades beyond her 22 years.<br />\nIf you often feel the need to be alone with your feelings, Walker\u2019s got you. <i>CLEAR</i> is the raw, uncut feed direct from her soul. \u201cWhether it\u2019s happiness, sadness, anger, or jealousy, I\u2019ve never been a girl who writes in her diary,\u201d Walker says. \u201cPro Tools sessions are my diary sessions.\u201d",
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                          "standard": "\u201cRapper who\u2019s more like a singer\u201d isn\u2019t exactly a novelty nowadays, but few pull off double duty more gracefully than Rod Wave, the Florida native who offsets gruff bars about trauma with achingly soulful melodies. His predilection for the latter has never been more obvious than on <i>Ghetto Gospel</i>: \u201cClose Enough to Hurt\u201d is a straight-up soul ballad, albeit one about keeping people at arm\u2019s length because of past betrayals, and \u201cCounted Steps\u201d offers one of his most powerful vocal performances to date. Picture Kevin Gates, if Kevin Gates had near-perfect pitch\u2014fittingly, given that the Baton Rouge rapper is credited as the project\u2019s executive producer and pops up for two world-weary guest verses.",
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                          "standard": "Rod Wave knows exactly who he is. \u201cI got skills in other things, but rich off rapping pain,\u201d he admits in the title track from his third album, <i>SoulFly</i>. That title contains multitudes in that Wave\u2019s music obviously comes from his soul, and he is objectively fly, and then there is the fact that he\u2019s continuously singing about the time after his eventual passing when his soul can <i>actually</i> fly free. In fact, Wave is remarkably productive for someone who\u2019d have you believe he\u2019s constantly in the throes of anguish. (The singer has released at least one project a year since 2016\u2019s <i>Hunger Games</i>, amassing a fanbase whose penchant for making jokes about the glumness of his music is dwarfed only by their dedication to streaming it.) \u201cIf you can\u2019t feel my pain, this ain\u2019t for you anyways,\u201d Wave sings on \u201cDon\u2019t Forget.\u201d You\u2019d think that the hard times he saw as a child, the constant betrayals he\u2019d know as an adult, or the pressure he\u2019s under as his family\u2019s breadwinner might actually come close to breaking him, but Wave sounds like he is in a better space than he\u2019s been in a long time. \u201cI just be telling \u2019bout my pain,\u201d he says on \u201cCalling.\u201d \u201cI just be thinking, reminiscing \u2019bout that shit/I numb the pain with the money/I don\u2019t feel pain, too much money.\u201d",
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                          "standard": "Life for St. Petersburg, Florida, singer Rod Wave has changed very little in the wake of the government-mandated social distancing of April 2020. \u201cThis dude was asking me about quarantining,\u201d he tells Apple Music ahead of the release of <i>Pray 4 Love</i>, \u201cbut I haven\u2019t changed the way I live. I don't really like to go to places. I've been quarantining for the past two years.\u201d This might be something of a hard sell coming from someone whose popularity and acclaim has risen steadily since 2019\u2019s \u201cHeart on Ice\u201d\u2014notably, a song about retreating into yourself\u2014but <i>Pray 4 Love</i> carries much of the same thread.<br />\nOn songs like the title track, \u201cThug Life,\u201d and \u201cI Remember,\u201d Wave details some of the scenarios that have contributed to his self-imposed pre-pandemic isolation. There are not only stories of having been done wrong, but also instances of Wave taking responsibility for his mistreatment of others. \u201cMade her fall in love, then begged for distance,\u201d he sings of a lover on \u201cThief in the Night.\u201d \u201cThat's what happened,\u201d Wave says. \u201cI'm not going to try to lie and be like, \u2018She was tripping, so I\u2014\u2019 No. I'm gonna keep it real. That's all I know.\u201d<br />\nIt\u2019s certainly gotten him this far. And if it wasn\u2019t for his honesty, he might not have his biggest hit to date. \u201cBefore the albums, and people talking and liking and following, all I had was the music,\u201d he says. \u201cThe music helps me talk about [my problems]. I don't regret going through none of it, because if it hadn\u2019t went down like that, 'Heart on Ice' wouldn\u2019t have even been a song. It would have been 'Wrist on Ice.'\u201d Thank god for hard times.",
                          "short": "\u201cI\u2019ve been quarantining for the past two years.\u201d"
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                          "standard": "When Rod Wave first dropped <i>Pray 4 Love</i> in April of 2020, he told Apple Music that a newly imposed stay-at-home order had done little to affect his day-to-day life. \u201cI\u2019ve been quarantining for the past two years,\u201d he said. It\u2019s likely how he\u2019d been able to build a catalog that includes his <i>Hunger Games</i> mixtape series, <i>PTSD</i>, <i>Ghetto Gospel</i>, and <i>Pray 4 Love</i>. He\u2019s been nothing if not productive in the time since the release of the original <i>Pray 4 Love</i>, delivering the deluxe version just four months later with 11 new songs and 10 new videos. The new batch of songs includes guest appearances from veteran Memphis MC Yo Gotti and Atlanta star Lil Baby, but the videos\u2014which span songs across both versions of <i>Pray 4 Love</i>\u2014are all Rod, the MC allowing us to <i>see</i> that he\u2019s doing as good as he sounds.",
                          "short": "The St. Petersburg MC adds 11 new songs and 10 videos."
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                          "standard": "Just in case you were under the impression that Rod Wave was here to make friends, \u201cPopular Loner\u201d gives it to you straight: \u201cI don\u2019t get along with my peers, I\u2019m at war with myself/So f*ck you and everybody else!\u201d In fact, the St. Petersburg, Florida, native had no plans to release his music until his go-to producer took the initiative to put out the rapper\u2019s breakout tracks in 2017. And thank god for that\u2014on <i>PTSD</i>, Rod Wave swerves seamlessly between gorgeous R&B melodies and raw, honest bars that deal with loss and trauma head-on. You can hear hints of Kevin Gates realism and DeJ Loaf singsong, but ultimately, his style is his own\u2014and he\u2019d probably say f*ck you for suggesting otherwise.",
                          "short": "Gorgeous R&B melodies and honest bars that deal with trauma head-on."
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