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Track List
01) Good Ass Intro
02) Pusha Man
03) Cocoa Butter Kisses
04) Juice
05) Lost
06) Everybody's Something
07) Interlude (That's Love)
08) Favorite Song
09) NaNa
10) Smoke Again
11) Acid Rain
12) Chain Smoker
13) Everything's Good (Good Ass Outro)
01) Good Ass Intro
02) Pusha Man
03) Cocoa Butter Kisses
04) Juice
05) Lost
06) Everybody's Something
07) Interlude (That's Love)
08) Favorite Song
09) NaNa
10) Smoke Again
11) Acid Rain
12) Chain Smoker
13) Everything's Good (Good Ass Outro)
4:00
7:25
5:08
3:35
3:05
4:37
2:30
3:05
3:21
4:33
3:37
3:31
5:34
Data Complete
60%
Total Rating
60%Total Rating
(3 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
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First Released
2013
Hip-Hop
---
Urban/R&B
Party
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Album
0 copies
Album Description
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Acid Rap is the second mixtape by American rapper Chance the Rapper. It was released on April 30, 2013, as a free digital download. In July 2013, the album debuted at number 63 on the Billboard Top R&B/Hip-Hop Albums, due to bootleg downloads on iTunes and Amazon not affiliated with the artist. The mixtape has been certified "diamond" on mixtape site Datpiff, for garnering over 10,000,000 downloads. The mixtape was re-released on commercial streaming platforms in June 2019, and is set to be followed by a vinyl release.
Background and production
Use of LSD
Chancelor Bennet has admitted that some LSD was used in the production of this mixtape. Bennett has said, " was a lot of acid involved in Acid Rap. I mean, it wasn't too much — I'd say it was about 30 to 40 percent acid... more so 30 percent acid." He has also made it clear that LSD's involvement was just a small factor in the making of the mixtape. Bennett has said that, "It wasn't the biggest component at all. It was something that I was really interested in for a long time during the making of the tape, but it's not necessarily a huge faction at all. It was more so just a booster, a bit of fuel. It's an allegory to acid, more so than just a tape about acid."
Cover art
The cover art for Acid Rap was based on a real picture taken at South by Southwest, an annual conglomerate of film, interactive media, and music festivals and conferences that take place in mid-March in Austin, Texas. The picture was taken by Brandon Beuax, who also designed the cover art for Bennett's previous mixtape 10 Day. The picture happened by chance, according to Beaux, "I had made these Tie Dye tank tops before we went to SXSW and I gave them to Chance… In the back of my mind I'm like I hope you wear this."
Production
Bennett used artists and producers from Chicago who he had also worked with before. The acid jazz sound of the mixtape can be attributed to the collaboration of artists and producers from multiple genres. Bennett has said, "People that I worked with on other projects from multiple genres just came together to make a dope tape." Bennett attributes most of the funky or jazz sound to Peter Cottontale saying, "Peter Cottontale is a really sick jazz pianist."
Bennett describes Acid Rap as more of a music based album and less of a story-based album when compared to his previous mixtape. When asked to compare 10 Day to Acid Rap Bennett said, "Acid Rap is just a whole different monster; it's me as an adult making great music instead of a kid trying to explain a story. It's less of a conceptual project. It's still very cohesive, storytelling-wise, and its own project. But it's more music-based than story-based this time. I'm still telling the story of what it's like coming out of high school, not going to college and my experience with LSD. The new music that I started listening to has got a really heavy Acid Jazz base to it. It's just really good songs; it's a collection of great songs, which is exactly what #10Day is. But it's more of just a really good album than a story."
Release
Acid Rap was released as a mixtape and not an album. Bennett said, "One of my biggest talents is performing live." This gave him the idea to make his money by selling merchandise and performing live. Along with these reasons he also chose to release his music as a mixtape because he wanted to create free music. More recently he has also rapped about his hatred for record labels in one of his more recent songs, No Problem. Bennett being unsigned also gives him the ability to collaborate with any artists of his choosing. Collaboration was a main factor in the production of Acid Rap and that is another reason why Bennett decided to remain unsigned.
On June 28, 2019, Bennett officially released the mixtape onto streaming services along with his prior mixtape 10 Day. The track "Juice" didn't have its sample cleared and is instead replaced by a 30-second voice memo by Bennett.
User Album Review
Chicago’s drill scene divides audiences, critics, and peers, artists like Chief Keef either vilified for glorifying the city’s violence or given credit for shedding light on the ever-growing body count. In some ways, Chance The Rapper stands entirely apart from that scene, his acid-washed production and trademark “igh!” emanating miles away from Keef’s spare rumbles and “bang bang” ad-lib. He sings ballads, reminisces about the orange color of Nickelodeon VHS tapes, and once sampled indie rockers Beirut. And to be sure, Chance is often quoted as drawing inspiration from Kanye West and Michael Jackson, decidedly non-drill influences. But as different as Acid Rap and Finally Rich may be, Chance is rapping both from and of that same world, his unique voice offering a different view of the city he loves.
The two-part “Pusha Man” provides the most direct analysis of the city’s violence. After a few minutes of booming and boasting about getting girls and making newspaper covers, Chance jumps to the chase, switching gears into a paranoiac view of the city through a car window. Though while he’s rolling with a gun on his hip, he’s not mirroring the violence, but admitting to the accompanying fear and hoping for change. Where Keef and other drill artists play the role of the anti-hero, Chance wants to be “captain save the hood,” asking Matt Lauer and Katie Couric why he and the other kids have to be the ones to show the world just how bad things are. “I know you scared,” he sighs, adding that “you should ask us if we scared too.”
Later, the mournfully nostalgic “Acid Rain” explains that, in part, Chance’s appreciation for LSD comes from its ability to help escape the pain of the real world. After describing the haunting memory of a friend’s murder, he admits that he “trip[s] to make the fall shorter.” He’s living in a world where “funerals for little girls” is an everyday worry, and the acid offers a way out. Another, though, is Acid Rap.
Where the harsh, cold production of drill echoes the harsh, cold sentiments, Chance’s voice and the multi-faceted production are all about change, examining any little moment that might provide some fun and relief. “Good Ass Intro” reveals the world as a vibrant, soulful, footworking wonderland, a welcome mat unfurled by Peter Cottontale’s clacking percussion, smooth piano, and rich horn section. And the first line? A choir of singers proclaiming Chance’s ambition: “Even better than I was the last time, baby,” a serious claim after #10Day, a polished tape that showed a unique voice (an accomplishment for anyone, let alone a high-schooler). The four minutes that follow work by on skittering rhymes and slippery wordplay, ending with a line proclaiming this to already be your favorite album. Later, the Childish Gambino-featuring “Favorite Song” zeroes in that same aspiration to a single track, gliding by on Save Money cohort Nate Fox’s tropical guitar samples.
The fun continues on tracks like “Juice” and “NaNa”, Fox’s production on the former a woozy, delirious high. The song’s sepia-tinged piano sample and blues guitar swing lightly as “Chatham’s own” swaggers through a few verses. Getting into a thick Russian accent to find a rhyme for Oscar and shouting out Keef and the rising Chicago scene garner an equal sense of impish glee, Chance’s confidence rightly displayed. “NaNa” finds Action Bronson flying in for a typically Bronsolino verse (“she had the cleft palate, I ordered the chef’s salad”), but the fun comes mostly in Chance’s taunting repetition of the song’s title in the hook. While the tape and its production mutates like a hallucinogenic vision, nothing matches his ability to twist his own voice, from lazy drawl on the hook, to that gritty ad libbed “igh!”, to the lurching verses. Not to mention his witty wordplay, as displayed on this gem from the hazy “Smoke Again”: “Lean all on a square / That’s a fuckin’ rhombus,” he whines, pushing the drug reference into a geometry joke.
But, just like Chicago in the summer, the flashes of innocent fun come with steady, violent reminders that that innocence is impossible to hold onto for very long. The last verse of “Pusha Man” admits that “everybody dies in the summer,” crowded beaches and fireworks making things out like a warzone. The drugs are a problem too. Chance, Kids These Days’ Vic Mensa, and Chicago legend Twista take turns on “Cocoa Butter Kisses”, the track a meditation on growing apart from family due (at least in part) to weed, a sentiment that won’t dissuade the Kendrick Lamar connections being made of late. Though he’s afraid that his new lifestyle and the violence can take everything away, there’s hope: “everybody’s somebody’s everything,” he and BJ The Chicago Kid croon on “Everybody’s Something”. As long as they can repeat that mantra, there’s hope for a better Chicago, a goal Chance hopes his personal look at the city can help become a reality.
SOURCE: http://consequenceofsound.net/2013/05/album-review-chance-the-rapper-acid-rap/
External Album Reviews
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User Comments
Available in:
Acid Rap is the second mixtape by American rapper Chance the Rapper. It was released on April 30, 2013, as a free digital download. In July 2013, the album debuted at number 63 on the Billboard Top R&B/Hip-Hop Albums, due to bootleg downloads on iTunes and Amazon not affiliated with the artist. The mixtape has been certified "diamond" on mixtape site Datpiff, for garnering over 10,000,000 downloads. The mixtape was re-released on commercial streaming platforms in June 2019, and is set to be followed by a vinyl release.
Background and production
Use of LSD
Chancelor Bennet has admitted that some LSD was used in the production of this mixtape. Bennett has said, " was a lot of acid involved in Acid Rap. I mean, it wasn't too much — I'd say it was about 30 to 40 percent acid... more so 30 percent acid." He has also made it clear that LSD's involvement was just a small factor in the making of the mixtape. Bennett has said that, "It wasn't the biggest component at all. It was something that I was really interested in for a long time during the making of the tape, but it's not necessarily a huge faction at all. It was more so just a booster, a bit of fuel. It's an allegory to acid, more so than just a tape about acid."
Cover art
The cover art for Acid Rap was based on a real picture taken at South by Southwest, an annual conglomerate of film, interactive media, and music festivals and conferences that take place in mid-March in Austin, Texas. The picture was taken by Brandon Beuax, who also designed the cover art for Bennett's previous mixtape 10 Day. The picture happened by chance, according to Beaux, "I had made these Tie Dye tank tops before we went to SXSW and I gave them to Chance… In the back of my mind I'm like I hope you wear this."
Production
Bennett used artists and producers from Chicago who he had also worked with before. The acid jazz sound of the mixtape can be attributed to the collaboration of artists and producers from multiple genres. Bennett has said, "People that I worked with on other projects from multiple genres just came together to make a dope tape." Bennett attributes most of the funky or jazz sound to Peter Cottontale saying, "Peter Cottontale is a really sick jazz pianist."
Bennett describes Acid Rap as more of a music based album and less of a story-based album when compared to his previous mixtape. When asked to compare 10 Day to Acid Rap Bennett said, "Acid Rap is just a whole different monster; it's me as an adult making great music instead of a kid trying to explain a story. It's less of a conceptual project. It's still very cohesive, storytelling-wise, and its own project. But it's more music-based than story-based this time. I'm still telling the story of what it's like coming out of high school, not going to college and my experience with LSD. The new music that I started listening to has got a really heavy Acid Jazz base to it. It's just really good songs; it's a collection of great songs, which is exactly what #10Day is. But it's more of just a really good album than a story."
Release
Acid Rap was released as a mixtape and not an album. Bennett said, "One of my biggest talents is performing live." This gave him the idea to make his money by selling merchandise and performing live. Along with these reasons he also chose to release his music as a mixtape because he wanted to create free music. More recently he has also rapped about his hatred for record labels in one of his more recent songs, No Problem. Bennett being unsigned also gives him the ability to collaborate with any artists of his choosing. Collaboration was a main factor in the production of Acid Rap and that is another reason why Bennett decided to remain unsigned.
On June 28, 2019, Bennett officially released the mixtape onto streaming services along with his prior mixtape 10 Day. The track "Juice" didn't have its sample cleared and is instead replaced by a 30-second voice memo by Bennett.
User Album Review
Chicago’s drill scene divides audiences, critics, and peers, artists like Chief Keef either vilified for glorifying the city’s violence or given credit for shedding light on the ever-growing body count. In some ways, Chance The Rapper stands entirely apart from that scene, his acid-washed production and trademark “igh!” emanating miles away from Keef’s spare rumbles and “bang bang” ad-lib. He sings ballads, reminisces about the orange color of Nickelodeon VHS tapes, and once sampled indie rockers Beirut. And to be sure, Chance is often quoted as drawing inspiration from Kanye West and Michael Jackson, decidedly non-drill influences. But as different as Acid Rap and Finally Rich may be, Chance is rapping both from and of that same world, his unique voice offering a different view of the city he loves.
The two-part “Pusha Man” provides the most direct analysis of the city’s violence. After a few minutes of booming and boasting about getting girls and making newspaper covers, Chance jumps to the chase, switching gears into a paranoiac view of the city through a car window. Though while he’s rolling with a gun on his hip, he’s not mirroring the violence, but admitting to the accompanying fear and hoping for change. Where Keef and other drill artists play the role of the anti-hero, Chance wants to be “captain save the hood,” asking Matt Lauer and Katie Couric why he and the other kids have to be the ones to show the world just how bad things are. “I know you scared,” he sighs, adding that “you should ask us if we scared too.”
Later, the mournfully nostalgic “Acid Rain” explains that, in part, Chance’s appreciation for LSD comes from its ability to help escape the pain of the real world. After describing the haunting memory of a friend’s murder, he admits that he “trip[s] to make the fall shorter.” He’s living in a world where “funerals for little girls” is an everyday worry, and the acid offers a way out. Another, though, is Acid Rap.
Where the harsh, cold production of drill echoes the harsh, cold sentiments, Chance’s voice and the multi-faceted production are all about change, examining any little moment that might provide some fun and relief. “Good Ass Intro” reveals the world as a vibrant, soulful, footworking wonderland, a welcome mat unfurled by Peter Cottontale’s clacking percussion, smooth piano, and rich horn section. And the first line? A choir of singers proclaiming Chance’s ambition: “Even better than I was the last time, baby,” a serious claim after #10Day, a polished tape that showed a unique voice (an accomplishment for anyone, let alone a high-schooler). The four minutes that follow work by on skittering rhymes and slippery wordplay, ending with a line proclaiming this to already be your favorite album. Later, the Childish Gambino-featuring “Favorite Song” zeroes in that same aspiration to a single track, gliding by on Save Money cohort Nate Fox’s tropical guitar samples.
The fun continues on tracks like “Juice” and “NaNa”, Fox’s production on the former a woozy, delirious high. The song’s sepia-tinged piano sample and blues guitar swing lightly as “Chatham’s own” swaggers through a few verses. Getting into a thick Russian accent to find a rhyme for Oscar and shouting out Keef and the rising Chicago scene garner an equal sense of impish glee, Chance’s confidence rightly displayed. “NaNa” finds Action Bronson flying in for a typically Bronsolino verse (“she had the cleft palate, I ordered the chef’s salad”), but the fun comes mostly in Chance’s taunting repetition of the song’s title in the hook. While the tape and its production mutates like a hallucinogenic vision, nothing matches his ability to twist his own voice, from lazy drawl on the hook, to that gritty ad libbed “igh!”, to the lurching verses. Not to mention his witty wordplay, as displayed on this gem from the hazy “Smoke Again”: “Lean all on a square / That’s a fuckin’ rhombus,” he whines, pushing the drug reference into a geometry joke.
But, just like Chicago in the summer, the flashes of innocent fun come with steady, violent reminders that that innocence is impossible to hold onto for very long. The last verse of “Pusha Man” admits that “everybody dies in the summer,” crowded beaches and fireworks making things out like a warzone. The drugs are a problem too. Chance, Kids These Days’ Vic Mensa, and Chicago legend Twista take turns on “Cocoa Butter Kisses”, the track a meditation on growing apart from family due (at least in part) to weed, a sentiment that won’t dissuade the Kendrick Lamar connections being made of late. Though he’s afraid that his new lifestyle and the violence can take everything away, there’s hope: “everybody’s somebody’s everything,” he and BJ The Chicago Kid croon on “Everybody’s Something”. As long as they can repeat that mantra, there’s hope for a better Chicago, a goal Chance hopes his personal look at the city can help become a reality.
SOURCE: http://consequenceofsound.net/2013/05/album-review-chance-the-rapper-acid-rap/
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