Vinyl Me Please (store, exclusives, swaps, etc)

NathanRicaud said:
Ok. So listen up everyone. Imma tell you why I think Lil’ Kim’s Hardcore is an essential record to have in your collection, particularly if you love hip-hop!

Hardcore literally paved the way for women, especially in hip-hop, to express themselves in whatever way they wanted, with confidence and without feeling as if they were crossing the line.

I mean, look at Lizzo! She has such a personality and she ain’t afraid to flaunt it. That’s exactly what Lil’ Kim did with Hardcore, visually in the music videos and lyrically, with her raunchy, filthy lyrics.

So, what I’m trying to say is, Hardcore is incredibly unique and original, even if a lot of the bars were ghostwritten on that album. Lil’ Kim delivery was 100% convincing that it doesn’t feel like anyone else could have wrote the lyrics. Just like with Dr Dre’s “The Watcher”. The way Dre spits those bars during the verses and the sentiment he brings, you’d think it would only come out of his mind!

The east coast sound/production on this album is colourful! The beats are fat and juicy (Big Momma Thing, Dreams), some hit hard and have a mafioso kind of aesthetic (Drugs, Queen Bitch) and others have a more laid back, intimate, dressing gown sexy vibe (Spend a Little Doe, Not Tonight). The production is versatile and Lil’ Kim doesn’t show any sings of holding back lyrically.

C’mon hip-hop heads. This is a classic album that holds up really well today, especially as it was a game changer in how not only just women, but how men too would show badass diva confidence!
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I'm not sure I could possibly disagree with this post more. There were plenty of women in rap doing whatever the fuck they wanted long before Lil Kim and didn't have to tart themselves up to do it either.

She didn't write any of her raps. Any of them. So what is unique or original about men writing sex-heavy raps for a tarted-up woman to sell records? And you count that as groundbreaking?

None of the production is memorable and holding back lyrically? I can't tell if you're serious or not. Lil Kim is a trash lyricist. It's really embarrassing that you would even consider this shit a game changer or classic. Shit was a joke and still is a joke 20 years later.

Edit: she wasn't even 'original' at the time as Foxy Brown came out first iirc using the same bullshit that you're trying to act like Lil Kim pioneered.
 
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NathanRicaud said:
Lil’ Kim’s Hardcore... is a classic album that holds up really well today, especially as it was a game changer in how not only just women, but how men too would show badass diva confidence!
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Mmmmmmmmmmaybe I've listened to it too much in the last 20 years, but I think all the songs I love can be fit onto a single 12" LP... I don't need the double treatment on this one.

Sanders said:
This Crumb record is absolutely amazing. If you missed out on this one...

You messed up.
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THIS. ALL. DAY!
 
Just got a VMP email. They have Scott Orr available. I'd recommend that album highly. He has a bit of an Arthur Russell thing going on. I picked it up when Vinyl Moon offered it as an exclusive this spring.
 
dbarila said:
Did they apply the credit automatically or did you contact them? I'm still waiting to hear back about my 2nd noisy copy of Stars.
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I contacted them directly. I recommend emailing them and being as specific as possible about the issue with your records and your referred refund/credit method.
 
Clint Howard said:
I'm not sure I could possibly disagree with this post more. There were plenty of women in rap doing whatever the fuck they wanted long before Lil Kim and didn't have to tart themselves up to do it either.

She didn't write any of her raps. Any of them. So what is unique or original about men writing sex-heavy raps for a tarted-up woman to sell records? And you count that as groundbreaking?

None of the production is memorable and holding back lyrically? I can't tell if you're serious or not. Lil Kim is a trash lyricist. It's really embarrassing that you would even consider this shit a game changer or classic. Shit was a joke and still is a joke 20 years later.

Edit: she wasn't even 'original' at the time as Foxy Brown came out first iirc using the same bullshit that you're trying to act like Lil Kim pioneered.
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🤭🤭🤭🤭🤭

But Lil’ Kim was the most raunchiest, badass, sexiest, and glamorous out of all those women in hip-hop. She stood out! Lil Kim is rebellious if you know what I mean. And her bars are rebellious and make you even blush a bit too! That’s why Hardcore is a game changer!

Just because you think the album is trash and shit and that Lil Kim is unoriginal/didn’t write her bars doesn’t mean it’s not a game changer! There was no one like Lil Kim back then!

I think around half the production is memorable. Queen Bitch and Drugs hit hard and are catchy. Crush on You and Big Monma Thing are smooth as, they have an R&B funky feel. Classic beats in my opinion.

I can see where you’re coming from with the criticisms.

But Hardcore is a great album even though she didn’t write a lot of it/had little creative input. It’s like how Britney Spears’ Blackout is an amazing album even though Britney had little creative input. Both albums were game changers in different ways.

Lil Kim is the baddest bitch. Full stop! 💁‍♂️
 
NathanRicaud said:
🤭🤭🤭🤭🤭

But Lil’ Kim was the most raunchiest, badass, sexiest, and glamorous out of all those women in hip-hop. She stood out! Lil Kim is rebellious if you know what I mean. And her bars are rebellious and make you even blush a bit too! That’s why Hardcore is a game changer!

Just because you think the album is trash and shit and that Lil Kim is unoriginal/didn’t write her bars doesn’t mean it’s not a game changer! There was no one like Lil Kim back then!

I think around half the production is memorable. Queen Bitch and Drugs hit hard and are catchy. Crush on You and Big Monma Thing are smooth as, they have an R&B funky feel. Classic beats in my opinion.

I can see where you’re coming from with the criticisms.

But Hardcore is a great album even though she didn’t write a lot of it/had little creative input. It’s like how Britney Spears’ Blackout is an amazing album even though Britney had little creative input. Both albums were game changers in different ways.

Lil Kim is the baddest bitch. Full stop! 💁‍♂️
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Nathan, for the sake of my wallet, stop. I've never listened to Hardcore and now I want it! 😫
 
Sanders said:
Its a pink record, so my sister is gonna try to steal it. Not to mention I live with my parents (being 18 sucks), so I don't think they'd appreciate it too much 😂
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It’s ok. I live with my parents too! They use to be shocked and would always say “What is this crap?”. But now they just look at me and smile hahaha

Maybe your parents might like the record even though it’s really explicit/raunchy. Who knows 🤷‍♂️

Be rebellious! Live that rebellious teenage punk life! This is your chance 😈😜😂
 
NathanRicaud said:
🤭🤭🤭🤭🤭

But Lil’ Kim was the most raunchiest, badass, sexiest, and glamorous out of all those women in hip-hop. She stood out! Lil Kim is rebellious if you know what I mean. And her bars are rebellious and make you even blush a bit too! That’s why Hardcore is a game changer!

Just because you think the album is trash and shit and that Lil Kim is unoriginal/didn’t write her bars doesn’t mean it’s not a game changer! There was no one like Lil Kim back then!

I think around half the production is memorable. Queen Bitch and Drugs hit hard and are catchy. Crush on You and Big Monma Thing are smooth as, they have an R&B funky feel. Classic beats in my opinion.

I can see where you’re coming from with the criticisms.

But Hardcore is a great album even though she didn’t write a lot of it/had little creative input. It’s like how Britney Spears’ Blackout is an amazing album even though Britney had little creative input. Both albums were game changers in different ways.

Lil Kim is the baddest bitch. Full stop! 💁‍♂️
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You keep saying game-changer and that there was no one like her back then but you keep ignoring Foxy Brown and describing how it was a game changer? What did it change in the game?
 
Clint Howard said:
You keep saying game-changer and that there was no one like her back then but you keep ignoring Foxy Brown and describing how it was a game changer? What did it change in the game?
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But foxy brown was not even like Lil Kim lol. You listen to Foxy Brown on NaS’ It Was Written or on her debut, and she’s no where near like Lil Kim, aesthetic wise.

She was more like a Mafioso rapper in a sense. Yeah, she had bars. Her bars on The Promise and The Chase were tight! But why compare her to Lil Kim. She wasn’t a game changer.

In fact, Foxy Brown’s next album seemed like an attempt to kinda go in Lil Kim’s lane with lacklustre tracks like JOB.

Foxy Brown has some great tracks! But she wasn’t anything special in my opinion. I do really like her voice though! And man, do I love her few features on NaS’ It Was Written!
 
Sanders said:
View attachment 10655

$1000 to @zombie.modernist
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So we know Mariah's team doesn't know good sound. Check.

To be fair, DMM isn't always bad. The latest Rush pressings sound good. But I've heard other DMM pressings that are nasty. It's a crap shoot.

Add in GZ and numerous shipments being sent to stores and it's a triple crap shoot.

Anyone want to go to Vegas? :ROFLMAO:
 
dhodo said:
It's hard for me to pigeon-hole Pitchfork reviews as all being good or bad or pretentious for that matter these days. They get a lot of freelance writers to do reviews and some of them turn out great. It is really weird when they pay a writer for a review that is clearly an 8/9 and then they slap a lower score on it though. I've seen the writer express the same level of confusion about that. Apparently whoever writes the review doesn't have anything to do with the number score.
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BjorgenFjorgen said:
I think the scores are an average from a group of voters, not just the writer.
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dhodo said:
I think that's true, but I don't know if the writer always even gets a vote. I've seen someone tweet at a writer and say hey your review read like a 9 or 10, why did it get a 7.5 and they said they didn't know how Pitchfork came up with the score.
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BattleFlag said:
I can't confirm this necessarily, but having someone/a group of people deciding on a rating is definitely a thing that goes on.

Way way back in late 2005/early 2006, I wrote stuff for Stylus for about 6 months. (Anyone remember Stylus?) The grades (A+ through F) were given by the editors, not the writers. We did have conversations about it, but ultimately it laid outside of my hands as the writer.
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Source: https://www.nytimes.com/2019/06/21/business/puja-patel-pitchfork-work-diary.html
 
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