Haven't posted a Daily Smooth in a while, but after listening to Ginuwine again I could not help but post one of his songs from his third album The Life.
Differences is a song about Ginuwine's wife. I think it is beautiful to write a song for that special someone in your life.
Ginuwine is on form in this song - towards the end of the song all the vocal gymnastics come into play and the chorus harmonies are so pleasant to listen to.
The beat is so silky and the backing melody locks in with Ginuwine's voice during the chorus to wonderful effect.
This was THE hype song from back in the day. Forget Tempz Next Hype, this song is the UK hype anthem. It was banned in clubs because people would get too rowdy if the DJ ever dropped it.
Forward Riddim was one of the songs that got the Grime genre recognized as more than just an underground music scene in 2004, and propelled Lethal Bizzle into the spotlight.
The song starts with Lethal B spraying those now infamous bars that gets everybody going.
Then a whole host of MCs drop some bars, including Ozzie B and Neeko from More Fire Crew (Lethal B being the third member of the group), and D Double E from the Newham Generals.
This is a classic Grime beat as well - repeat the same thing for the whole song and just let the bars do the talking.
The video is about as ghetto as the song - just watch it to see what I mean.
In Waves is the crushing title track of Trivium's latest album.
Trivium hold a special place in my appreciation of metal music. They get a lot of crap from older metalheads that don't like their look, or the screaming, or some of their music videos, but I experienced hearing them before seeing them.
I recall hearing a few singles from their third album, The Crusade, and I just enjoyed the lead playing and fast riffing they employed - as a 16 year old getting into that kind of music it was all new to my ears.
Trivium have moved on a great deal since the sound of their first three albums - their fourth, Shogun, was a display of technical playing, longer songs and liberal use of 7 string guitars.
In Waves, sees a huge step up in the vocal performance from frontman Matthew Heafy, a change in drummer triggering more blast beats and grindcore elements into the rhythm section as well as shorter songs that prove to be very catchy.
As far as consistent songwriting goes Trivium have put out their most consistent album with In Waves.
This song really showcases Trivium's new direction - Heafy's screams are more controlled and better enunciated, the guitar riffs have more of a groove to them (something I prefer to hear over the thrash-inclined riffs of albums past), and the guitar solos sit better as part of the song rather than sounding like an exercise in technicality.
Overall this song is such a powerful statement to make to kick of the album, but it sucks you into what I consider to be Trivium's best album to date.
As for the video - it is worth watching all of it.
After The Burial are a very technically skilled metal band, who use extended range guitars and a nice mix of harsh and clean vocals.
This song showcases the brutal and tight rhythm guitars this band prides itself on. Some of the riffs are on a par with metal legends like Meshuggah.
The riffing starts out quite simple, but the guitars remain melodic. Brutal vocals intertwine with high pitched cleans and in the chorus there is a lovely melody line played by the lead guitar.
The second verse ushers in the low pitched syncopated guitar riffs I mentioned earlier.
The breakdown towards the end is earth-shaking. The sonic-pounding of the kick drum locked in with the guitars is majestic.
This song comes from After The Burial's most recent album, In Dreams, an excellent release.
This of the opening track of Royce da 5'9" and Eminem's debut Bad Meets Evil album, Hell: The Sequel.
This song is 3 minutes of freestyle rap with Royce and Eminem trading bars over a nasty beat.
Both rappers are on form and this sets the tone for the rest of this excellent album. Eminem calls out some celebrities, as does Royce, and both do it with a rapid-fire syncopated flow.
There is some top level lyricism in this song with lots of clever metaphors - give it a few listens because Eminem in particular packs a lot of them into his bars.
This is the title track of, in my opinion, Killswitch Engage's best album The End Of Heartache.
This album marked a change of vocalist, and subsequently song writing style, for the band.
The more rugged and hardcore styled bark of Jesse Leach was replaced by Howard Jones' smooth semi-operatic clean vocals and traditional metalcore screams.
This song showcases both of Jones' singing styles beautifully and makes you appreciate how much vocal range he has.
The guitars are fairly simple and melodic in this song - giving it a sort of metal-ballad feel.
This song has become one of Killswitch's most recognizable songs as well as a fan favorite and it is clear to hear why - it is catchy and has sing-along choruses.
I'd urge any metal fan to listen to the album all the way through - it is a landmark release for the metalcore sub-genre.
Lil Scrappy and Lil Jon lay it down on this ghetto anthem.
The lyrics are typical of Southern rap - Scrappy raps about violence, hos, guns, cars and being in the club. Lil Jon and Lil Scrappy shout the chorus true Atlanta style.
The bass on this song is big and nasty - perfect for blasting in your car before hitting the club.
The video looks like Scrappy and Jon rounded up some of their crew and they just got wild and filmed it - low budget indeed.
