Thursday, January 29, 2015

White Denim Frontman James Petralli Unleashes First Single as Bop English, "Dani's Blues" (It Was Beyond Our Control)




"Dani's Blues (It Was Beyond Our Control)" is a fun introduction, with the chiming piano riff recalling early 70's AM Pop - think Paul McCartney's initial solo releases, those early Elton John albums, or even ELO at their most creative," Clash Music poetically likened White Denim frontman James Petralli aka Bop English's recent premier single to its predecessors/possible influences. After four tedious years-worth of studio tinkery, Petralli's "solo" debut, Constant Bop, is finally ready for a world-wide release on Blood and Biscuits/Downtown Records this upcoming April 13-14th; "Constant Bop is a widely collaborative project that features production from Jim Vollentine, 5th Street Studio's Ryan Joseph and Nick Joswick, as well as Matt Oliver of Big Orange Studios and the band TV Torso... White Denim's drummer Josh Block, guitarist Austin Jenkins, and bass player Steve Terebecki, as well as former Shearwater bassist Kevin Schneider."


James Petralli slowly but surely managed to record Constant Bop in just about the same length of time it took White Denim to record and release two full-length albums, one would assume, "D" (2011) and critically-acclaimed Corsicana Lemonade (2013). I would almost consider Constant Bop a quasi-sequel to Petralli's 2012 self-released, Facebook-fielded untitled 6-track Tascam Portastudio-recorded covers collection, which included lo-fi renditions of everyone from Ween to Stevie Wonder. "There are layers upon layers to explore on Constant Bop, with a serious attention to detail being applied to every track. "There's this one technique that has been used by tons of producers, but it was my first time to see it applied to this extent with any level of success," [James Petralli] mentions, referring to the pitched up guitar effect that's found on [album track] "Sentimental Wilderness."' Dog Day Press additionally notes that on Constant Bop's final 10 tracks, Petralli musically references "everything from Bob Dylan and Jeff Lyne to LL Cool J and Santana." Constant Bop is currently available for pre-order on Blood and Biscuits in a psychedelically SICK (translation: must-have) limited-run blue & yellow splatter 12-inch.

Tuesday, January 27, 2015

Kanye & Paul McCartney Recruit Rihanna for Second Collaborative Track, "FourFiveSeconds" (Roc-Nation)


While it's unclear to exactly what capacity at this point, but it seems as though Dirty Projectors frontman and guitarist Dave Longstreth was somehow involved in the writing/recording of Rihanna, Kanye & Paul McCartney's new single, "FourFiveSeconds;" according to a currently unsubstantiated report from Kanye's friend and long-time barber, Ibn Jasper, "Kanye's whole new album is co-produced with Paul McCartney... He decided to put Rihanna on ["FourFiveSeconds"] and put it on BOTH of their albums because they are both Roc-Nation" (reports which Rolling Stone have since shot down). In addition to Longstreth, "FourFiveSeconds" additionally features as-yet-unknown contributions from Mike Dean, Dalllas Austin, Elon Rutburg, and Noah Goldstein, as well as Ty Dolla $ign and Kirby Lauryen, both of whom previously worked with West-McCartney on "Only One." It's without a doubt the track Ty Dolla $ign was alluding to upon "Only One"'s initial release, which features "[himself], Rihanna, 'Ye and Paul [McCartney]," whose companion music video has apparently already been shot and is "gonna drop soon."


It's a sparse, acoustic-driven percussion-less almost Country-leaning track, which is quite the drastic departure for both Kanye & Rihanna, while "FourFiveSeconds" is likely closest to McCartney's meditative "White Album"-era material recorded with The Beatles. "FourFiveSeconds" (along with "Only One") could very likely end up re-appearing on Rihanna's long in-the-works Unapologetic (2012) follow-up or Kanye's reported Born In The USA-esque Yeezus follow-up, which may or may not be entirely co-produced by Sir Paul McCartney. "FourFiveSeconds" is of course, the second of what has previously been billed as "several" tracks Kanye & Paul McCartney, each musical legends in their own right, recorded together as recently as early 2014. Kanye will make an appearance during Ellen's week-long birthday celebration this upcoming Thursday, January 29th "to talk about his new song, new album, and extraordinarily "Good Life.'"

Sunday, January 25, 2015

BADBADNOTGOOD Initiate an Unofficial GHOSTDOOM Reunion on Sour Soul Single, "Ray Gun" (Lex Records)


Fresh on the heels of their forthcoming collaborative Jazz-Rap album with Ghostface Killah, awesomely titled Sour Soul, Canadian-bred instrumental trio BADBADNOTGOOD (BBNG) have spearheaded an unofficial GHOSTDOOM/DOOMSTARKS "reunion;" Ghostface and infrequent rapping partner/producer, [MF] DOOM have been teasing their mythical tentatively titled "Swift & Changeable" album for about 10 years now. BBNG recruited Ghostface Killah & DOOM for their third Sour Soul pre-release track, "Ray Gun," which as a recently released statement reads, "was inspired by 1960's and [70's] music, taking inspiration from the recording techniques and production of that era." While "Ray Gun"'s companion retro-fitted Rob Schroeder (Lodger Films)-directed video doesn't appear to feature BBNG, Ghostface Killah, or DOOM, "the video instantly transports you into a bizarre retro-futuristic world as "The Mask" [Odd Future member Left Brain] learns the rules of our planet and how they differ from his own," drummer Alexander Sowinski recently described to Rolling Stone.


Aside from top-billed emcee Ghostface Killah and seasoned lyrical wordsmith DOOM, Sour Soul additionally features the diverse talents of Danny Brown, former Slum Village member Elzhi, Tree, Wu-Tang-affiliated producer Frank Dukes, and frequent BBNG collaborators River Tiber, Leland Whitty, and tuba player David Lewis. For those who are somehow still unfamiliar with the prolific Instrumental Jazz/Hip-Hop trio (for whatever reasons), I'd strongly recommend checking out their 2011-12 FREE albums, BBNG and BBNG2, which showcase uniquely executed covers of everyone from James Blake to Waka Flocka Flame. Although, ahead of BADBADNOTGOOD's forthcoming Ghostface Killah joint album (February 24th), last year's first album comprised of completely original material, III, might be the best place to start for eager new-comers.

Wednesday, January 21, 2015

Mayer Hawthorne & Jake-One Return with First Non-Tuxedo Funk EP Single, "Number One" (Stones Throw)




"We always wondered what the original sample was for Snoop [Dogg]'s "Ain't No Fun (If the Homies Can't Have None)." Since we couldn't figure it out, we decided we would make it," Tuxedo gloated in a recent Stones Throw statement coinciding with their first non-Tuxedo Funk EP single, "Number One." Mayer Hawthorne & Jake-One previously unleashed their pre-Tuxedo "inspiration" mixtapes, Shoot The Duck and AR Music, on which they forged the group's underlying Disco-Funk backbone. "Tuxedo's [material] has been nothing short of top-shelf Boogie for the two-steppers, thus far... the sophisticated strutting is back and in full-effect, as the duo lets loose their latest joint, "Number One,'" okayplayer artistically lamented upon the track's release. It's a smooth synth-laden Disco-Funk track creation that doesn't sound entirely unlike something Snoop Dogg would rap over; akin to Snoopzilla's 2007-released Funk-Rap project, 7 Days of Funk, which he concocted along with Hawthorne's former Stones Throw label-mate, Dâm-Funk... and considering the fact that Mayer Hawthorne previously G-mixed Snoop's "Gangsta Luv" (2009), maybe a "Number One"/"Ain't No Fun" mash-up isn't too far off after all. It seems as though more fragmented chunks of Tuxedo's forthcoming self-titled album may very well be "leaked" in the weeks leading up to its March 3rd release, as @MayerHawthorne appears to have strategically attached a #TuxedoTuesday hashtag onto a stream of "Number One"-related Tweets.

Thursday, January 15, 2015

Converse & Complex Present: Hanni el Khatib & Freddie Gibbs - "Satin Black" (CONS EP, VOL. 3)




Fresh on the heels of his critically-acclaimed, Madlib-produced Piñata and a series of album-preceding EP's, Freddie Gibbs has now teamed up with yet another unexpected collaborator: Black Keys affiliate, Hanni el Khatib. okayplayer vividly describes their just-released new track, "Satin Black" as a "classic break with gritty, fuzzed-out six strings licks lacquering the cut, all before the backdrop melts into a puddle of funky goo, subverting your inner-rocker in favor of heavy wahs, deep, gurgling organs and a muddied vocal filter on [Freddie] Gibbs' already haze-treated vox." It's vaguely reminiscent of Head In The Dirt producer Dan Auerbach's pre-widespread-acclaim, Rap-Blues Rock-indebted BlakRoc album (2009) concocted along with his fellow Black Keys bandmate Patrick Carney, executive producer Damon Dash, and a gaggle of seasoned, Roc-A-Fella Records aligned rappers ranging from Ol' Dirty Bastard to Yasiin Bey fka Mos Def.


"Satin Black" was coordinated by skate ambassador Kenny Anderson as part of Converse's forthcoming genre-blending CONS EP VOL. 3, which isn't exactly Hanni el Khatib's first time working with a sharp-tongued emcee... he's previously recorded a remix of his album title track, "Moonlight" with expert Wu-Tang Clan swordsman, GZA. Khatib's soon-to-be-released third album has somewhat perplexingly been described as "equal parts RZA, Iggy Pop, and Tom Waits;" ahead of Moonlight's January 20th release, Innovative Leisure has unleashed 100 copies of what they're billing "A Visual Companion to The Album Moonlight VHS," in which director Nathan 'Nacho' Cabrera compiled a collection of "obscure, weird & feared" video clips that magically synch up with each of the album's 11 tracks. Converse's CONS EP VOL. 3, on the other hand, "brings together eight different artists to make four new tracks" and is expected to see a release later this spring, coinciding with the Converse CONS KA3 sneaker unveiling.

Saturday, January 10, 2015

Heems Unleashes Deeply Personal "Sometimes" from EAT PRAY THUG (Megaforce Records)


EAT PRAY THUG, or "9/11 & Heartbreak," as he affectionately refers to it, is the by-product of Queens-based rapper Himanshu K. Suri (aka Heems)' self-imposed exile to Bombay, India a few years back. Although it's actually Suri's major label debut, EAT PRAY THUG is likely poised to be his first and last album, as @HIMANSHU has recently alluded that he's considering giving up his rap career and more or less defunct Greedhead imprint for a 9-5. Since unleashing a series of critically-acclaimed 2012 mixtapes, Nehru Jackets and Wild Water Kingdom, Suri has maintained a relatively low profile; until unexpectedly dropping his 4-track SWET SHOP EP with buddy Riz "MC" Ahmed and a particularly zonked out theme song recorded for Japanese Vitamin Water last year. "'Sometimes" is about dualities, identity, and the space between spaces, Like so many other people, as first generation South Asian in the U.S. I often felt like I lived two lives, an Indian one and an American one. I lived, at once, in and between two spaces and outside them, as well," Heems lamented on his deeply personal Gordon Voidwell-produced EAT PRAY THUG lead-off single.


Megaforce Records further details that his long-awaited post-Das Racist album, which will finally see a March 10th release, includes production work from Dev Hynes, Harry Fraud, and Boody B, as well as guitar accents from Hynes and Rafiq Bhatia... all of which was recorded in-between Bombay and Brooklyn. Heems recently sounded off on his new-found label home, who's seemingly now "not providing free download [codes] with the vinyl" release of EAT PRAY THUG. It should be dually noted that this is just the latest album-derailing hurdle Himanshu K. Suri has encountered; although they released Das Racist's final album, RELAX (2011) it should be taken into account that Megaforce is generally a Metal/Thrash-leaning label, having issued Danzig, Anthrax, and Clutch's past albums, as well as 80's-era Metallica. Suri previously referred to the album as "the most honest work I've ever made" and according to a Stereogum Q&A published last March, EAT PRAY THUG has been completed since around December 2013 and is reportedly an 11-track album.

Thursday, January 8, 2015

VICE Records Presents: Action Bronson, Drake Producer Noah "40" Shebib & Omen - "Actin' Crazy" (Mr. Wonderful)




"HERE'S MY NEW JOINT, "ACTIN' CRAZY" PRODUCED BY @OVO40 [& @ProducedbyOmen]. ENJOY.... MR. WONDERFUL MARCH 24th MOTHAF**CCKKKKKKA!!" F**k, That's Delicious super-star, Action Bronson exuberantly Tweeted Wednesday upon the release of his latest single, which almost instantaneously received a co-sign from Hip-Hop aficionado and 21-23 Jump Street leading man, Jonah Hill. It's the second and possibly lead single from Bronson's long-rumored Atlantic/VICE Records debut, Mr. Wonderful. Although a rough tracklist was previously "leaked" by Bronson himself through a stream of haphazard Tweets, VICE unveiled the album's official 13-song tracklist through a press release shared Thursday morning. Mr. Wonderful boasts top-notch production work from Mark Ronson, Drake affiliate Noah "40" Shebib, Party Supplies, 88-Keys, and Alchemist, along with all-star features from Chance The Rapper, Meyhem Lauren, Chauncey Sherod, and "cousin" Big Body Bes. Mark Ronson's Billy Joel-sampling album opener, "Brand New Car" was miraculously "approved by the man himself... due to a hand-written note from both Action Bronson & Mark Ronson exclaiming their admiration to the New York legend; a rare feat achieved by few," the VICE Records press release dramatically laments.


Not entirely unlike his previous releases, "Actin' Crazy" features a one-of-a-kind artwork hand-crafted by artist Freako Rico. Aesthetically, it's comparable to the unique pieces of artwork showcased on Dr. Lecter, Blue Chips, Rare Chandeliers, Blue Chips 2, "Easy Rider," and "A Light In The Addict." For whatever reasons, Freako Rico amazingly sketched Bronson perched atop a blue laser-mounted shark, red laser in the other hand, surrounded by torpedo-wielding zebra fish, floating through space and time, flanked by 90's graffiti bubble letter text ha. "The album is sounding incredible. The whole album is a stand-out. I don't care about individual songs, I'm trying to make a complete, classic project. I just do my music uninfluenced by anybody else, or current trends, and it comes together at the end," Action Bronson poetically described Mr. Wonderful to NME last year. "Nothing needs to have a f**king theme all the time. This is just rap. I'm not trying to make people think I'm some sort of scientific wizard or inspirational poet. F**k that! It's just happy, funny, rugged, rough rap."

Tuesday, January 6, 2015

Super-producer Dan Ubick Reveals The Soulful "Riddims" & Sounds Behind The Lions' Soul Riot 2LP (The Witzard x The Lions Interview #2)


"This new batch of tunes came straight from the heart on all fronts. With everything that's going on today we wanted to make an album that speaks to peoples emotions and frustrations while also giving them a chance to dance and release some stress," lamented Lions producer, guitarist, and master-mind Dan Ubick. His LA-based 12-member+ Reggae revival group, The Lions, are gearing up to unleash their third genre-blending album, Soul Riot on Stones Throw this upcoming February 10th. While I previously conducted an in-depth interview with Ubick a couple years back to coincide with This Generation, I couldn't resist the opportunity to publish yet another all-inclusive 12-part Q&A. The Lions' 2LP Soul Riot album is currently available for pre-order over at the Stones Throw Store weeks ahead of its proper release; I must admit, I've been spinnin' an advance copy for a week or so now, and it's definitely something worth picking up for seasoned and new-found Reggae fans alike!


(1) What would you say were some of the sources of inspiration, intentional or unintentional, during the recording of the new Lions album, Soul Riot?


Wow, good question! Inspiration always seems to come from different places every time I get the chance to make a record. Number one, I guess was having a a slew of new rhythms to work with that aren't like any we've attempted before. Secondly, Shakespeare and I had a wellspring of ideas, lyric-wise this time around with many great assists from Alex, Malik and Deston on the melodic and harmonic end. Shakes and I had everything laid out, but the true magic happened when Malik, Alex, and Deston were working out and then tracking lead and harmony parts. That was very inspiring to me as the producer and when what Shakes and I had in our minds came to fruition. Lastly, Blake, our drummer, wrote most of the horns parts and then, Eddie and Otto played them beautifully and took amazingly beautiful solos. Everyone contributed pieces of heart and soul on Soul Riot and I think that's why it came together like it did.

Outside of the inner workings though it is just inspiring, over the last few years especially, to see peoples great, positive comments and messages on The Lions' Facebook page and our webpage. To see how much joy people around the world are getting from this music is just mind blowing and so inspiring to us as music makers.


(2) What was the typical track construction/recording process like during the making of this album and was it any different than the process(es) outlined in our previous This Generation-centric interview?

Similar, yes but this time it was recorded solely at my studio in Topanga.


(3) Last time we talked, you mentioned that you wouldn't mind working with some of your Stones Throw label-mates like: Madlib, Oh No, J. Rocc, Aloe Blacc, Mayer Hawthorne, Guilty Simpson, Wildchild & Percee P. Are you able to divulge if any of those possible collaborations are any close to coming to fruition?

Been lucky to have worked with all these folks you mentioned outside of The Lions save Mayer, whom I'd love to do something with, he's great. I have another group called Connie Price & The Keystones and Guilty and Percee P are on our forthcoming LP. Aloe, I have backed up a few times over the years, always fun, always professional. As far as Madlib, I played guitar on his Sound Directions and Shades of Blue albums, which were a blast, what a creative guy he is. J. Rocc, I've know since Breakestra days and we did one opening gig in Chicago for B.B. King a few years back, which was cool.


(4) How did "(Will You Be) My Girl?" recorded with newly signed Stones Throw affiliate Myron Glasper of vocal duo Myron & E ultimately end up coming about?

Oh man, Myron. What a talented guy and a gifted, natural born singer. I met Myron & E through Stones Throw and they hired me to put together a band for them to play songs from On Broadway for appearances of Morning Becomes Eclectic (KCRW), Chris Douridas' School Night, and a few other things. I got Blake Colie from The Lions to play drums, Joey Reina from Jungle Fire on bass, and Mark Cross (The Rebirth/Weapon of Choice) to play keys and it was smoking, what a great band. On the bigger shows, I hired a three-piece string section which was incredible... sounded very close to the LP. Anyway, Myron and I have kept in touch and I thought he might just sound amazing on "My Girl" so we linked up and I was right. His thing over a Lions lover's Rock-type rhythm is pretty special, a match made in heaven for me. I also have a KILLER version of Alex Desert singing it that kills as well.


(5) Would you mind telling me a little bit about The Lions' expertly executed cover of The Clash's "The Magnificent Seven (Dance)," which was recorded for a Spanish magazine tribute LP? How did the recording end up re-appearing on Soul Riot?

Yeah, I initially licensed that for a small Spanish label that did a Clash tribute LP, but it didn't get a lot of PR, which was a bummer, as I thought our version was really good. Shakespeare is on fire and the backing vocals are a really cool tribute to Joe [Strummer]. Alex used to hang with Joe, so I know some personal touches went into what we came up with. It just seemed natural. Most all of us in the band grew up being inspired by The Clash and The Clash were obviously super inspired by Jamaican music. In fact, The Clash's "Magnificent Dance/Seven" is their interpretation of an old Jamaican song, so we've brought it back around somehow. A re-re-interpretation. Anyway, I loved how it turned out and [Peanut Butter] Wolf and I thought it would be good to give it a second chance by including it on "Soul Riot." It fit stylistically with everything else too so, bam, there you go!


(6) Considering the fact that you and your fellow bandmates are seasoned musicians, all established in your own right... What exactly then, prompted you guys to form The Lions?


Pretty simple... all the guys that play in this band love Jamaican music and we formed The Lions to have an excuse to get to play music we love.


(7) What are your current roll-out plans for Soul Riot looking like... Do you have your sights set on any specific tracks for single contenders or music video plans "in the pipeline?"

It looks like "When It Rains" will be the first single [above]. We have filmed a video for it, but I haven't seen a final edit as of today, so we'll see. Planning proper begins soon though, re: "roll-out."


(8) While perusing the album tracklist on Bandcamp, I noticed the appearance of one Angelo "Dr. Madd Vibe" Moore on "Rhythm Rock." So, I was wondering if he'd a new addition to The Lions' roster or just an old friend/affiliate?

Yeah, I just asked him through Dave's (Wilder-bass) friend, Krandal and he was down. Very stoked, as the guys and I grew up being inspired by Fishbone, no question. Angelo's contributed some killer low end theremin and a classic intro for Shakespeare on "Rhythm Rock," lucky to have his vibe in the mix!


(9) What kind of side-projects, outer-band activities, and session work are you and your fellow bandmates involved in... Anything to be released upon the masses relatively soon?

Uhm, well... I know Wilder just played on Ziggy [Marley]'s Fly Rasta LP. Blake and I did Sierra Nevada World Music Festival and Dub Club with Hollie Cook which was awesome, love her. Alex is always doing acting and Hepcat has some shows this year. Shakespeare has an incredible group with his buddy Ta'raach (Erykah Badu, etc.) called LLgL TNdR [aka: Legal Tender], which is incredible. Shakes and T actually do a track on my new Keystones LP (Lucas High due out 2015) called "Listen!," which blows my mind... So good!


(10) Taking into account The Lions' apparent tendency to Reggae-ify and release original covers of well-known songs (ie: "Jamie's Cryin'" & "The Magnificent Seven"), do you guys ever intend to release an EP or full-length collection of covers?

Not really. Happy with both of those but doing a covers record isn't at the top of my list as of today. Would LOVE to have any of the [emcees] you mentioned above (plus others) rhyme over Lions riddims though. That has been in the back of my mind for quite a while. I loved the mash-up LP's Chris Macro did and think I could do something really great with our existing rhythms coupled with the right emcees. [It's] in the back of mind, waiting for the right opportunity.


(11) What kind of influence or perspective, if any, does Stones Throw label-head Peanut Butter Wolf have on the general happenings, promotion, etc. of The Lions' albums?

Wolf is someone whose opinion I trust to the fullest, as he is first and foremost a taste-maker, but also one of the foremost music historian/record collector/DJ-type people I am blessed to get to hang with and learn from. If he says: "you need the bass louder in the mix" (which he thankfully did on our Clash cover!) or "the song order might be better like this," I listen. Wolf to me never comes off as a know-it-all though, he just wants his artists to feel good and supported, but offers good suggestions if need be.


(12) This one has little to nothing to do with The Lions (or maybe it could); But I'm curious to know... What were some of your favorite 2014-released albums, EP's, or singles?

Oh man, I don't even know, it probably not what you'd imagine. I loved that Ray LaMontagne song Dan Auerbach produced "Ojai," that was killer. Great story, great chord changes. The New Basement Tapes are great [to] me, especially that song "Kansas City" with Marcus Mumford. The Jim James track on it is incredible, too. Holy crap! Hollie Cook's "Twice" is pretty solid all the way through. I got a chance to dig in while playing with her and just fell in love with those songs... great changes/good songs, super cool Tiki/Reggae vibes and Hollie sounds just like the record live. I love how Prince Fatty is showcasing her whole personality, the production is spot on. Would love to link with him for sure.

I mostly listen to older records, but since they have finally released the entire Basement Tapes by Bob Dylan & The Band in 2014, that'd be my top choice for "favorite 2014-released," even though it was all recorded in in the late 60's. Ha-ha! The last new group that absolutely floored me was Fleet Foxes, but that's more 2011, I think. Love Robin Pecknold's songs and their harmonies are so natural and they create such a cool vibe with their dynamics.



Friday, January 2, 2015

Kanye Unleashes New Year's Eve Track, "Only One," with Former Beatle Paul McCartney (Def Jam)


"In early 2014, Paul McCartney and Kanye West first began working together in a small bungalow in Los Angeles. The process that would result in "Only One" began with a simple brainstorming session between the two: with McCartney improvising on the keyboards and Kanye vocally sketching and shaping ideas in a stream-of-consciousness riff," laments a recent press release marking the 12 midnight New Year's Eve release of Kanye & Paul McCartney's abrupt new single. Although a collaboration between the two men who recorded such drastically different world-renown songs as "Hey Jude" and "Gold Digger," "Only One" could be likened to the unknown middle ground that might exist between 808's & Heartbreak and Let It Be; further accented by background vocals from Taylor Gang signee Ty Dollar $ign, co-writer Kirby Lauryen, and a beat concocted by in-house producer Mike Dean, McCartney adds in a beautifully sparse piano accompaniment, which okayplayer notes is "reminiscent of some Bluesy Billy Preston chop or even a Harry Nilsson composition."


It's being widely totted as the lead single from Kanye's long-rumored, as-yet-untitled Yeezus follow-up and the first of "several" tracks recorded with Paul McCartney (including one called "P*ss On My Grave"). The companion G.O.O.D. Music/Def Jam-issued press release seemingly alludes to the fact that Kanye doesn't exactly recall singling the track's titular refrain, "Hello, my only one..." which he's since attributed as being the voice of his late mother, Dr. Donda West; "My mom was singing to me, and through me to my daughter [Nori]," he said, astonished." It's currently unclear where "Only One" and the remaining West-McCartney-penned compositions will ultimately end up, if it's the same project Kanye previously likened to Bruce Springsteen's record-shattering Nebraska follow-up, Born In The USA, or a separate stand-alone project entirely. Although, it seems as though the next Kanye & Paul McCartney release will likely see the light of day much sooner than any of us expected, since Ty Dollar $ign recently let this little nugget slip to Billboard: "Me, Rihanna, Ye, and Paul [McCartney] got a song about to drop, as well..."