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It’s at this point on the record you really notice the effects of the improved production. It thumps with a trembling force, but Raury’s vocals are splitting and serene. ‘Woodcrest Manor II’ sees Raury build an immaculate and personal story, piggybacking off of the first instalment seen on his last project. As he chants incessantly over a popping African drum-beat, “Lord save this burning Earth”, he is joined by a pounding 808s pattern, opening it up for Raury to expound on his message with more conviction. On ‘Revolution’, Raury’s outlook is more panicked and immediate. It’s a slow burning, paced song that lets his message simmer and float atop airy production.
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‘Peace Prevail’ sees Raury stepping back to asses his own past and his own insecurities, as he wonders what he will look like when he’s ninety or if rap will ever be a white-genre just like the other genre’s that were initialized by people of colour. Raury’s always promoted a conscious vibe within his music, but in this album, it’s full-bodied and wholesome. Thematically, All We Need doesn’t exclusively cover the surface area of those who share his pigment or his background, but really, it is designed to reach those that identify with his generation. This message, translated in different ways within different narratives, different instruments, and different song structure, comprises the bulk of Raury’s debut-and although his music and it’s racial ambiguity may put people off, rather than trying to spread his socially conscious savvy through his own race and own bloodlines, Raury is adamant on addressing his audience as a holistic humanity. Lyrically, Raury becomes a lot more precise about his message than ever before, as the album promotes the simplistic remedy of love to prompt peace. Raury’s studio debut, All We Need, is a spiritually proprietary record that answers the question the title seemingly asks. He’s right, but he’s also not putting up much of a fight against these critics and their flat, uninspired remarks.
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I’m hip-hop,” he stated without flinching at The Breakfast Club recently. In other words, white music critics were complaining about how Raury’s music was too easy for white people to like.
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Much of Raury’s criticism upon his introduction to music was that he was sonically amiable and geared to succeed as some sort of industry plant or synthetic pop machine, reaching at the fact that he’s a black kid from Stone Mountain, GA, but he dresses like he’s a hippie, caucasian dude with a guitar posted up at your nearest boardwalk. Raury’s music is unapologetically black, which may sound discernible but is clearly a controversial statement. His inaugural offering, 2014’s Indigo Child, stood as an artful project drawn with a muddied paintbrush creating pictures out of the fury, ambition, and hope that pairs with being an African-American youth by default. It does not store any personal data.It’s hard to nail down exactly where Raury is headed musically. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is used to store the user consent for the cookies in the category "Other. The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly.