Doris Explicit Lyrics

Came in perfect condition spins super well also the packaging was super well done was kinda scared to buy because of that reason but it was actually super well packed so don’t have worry’s perfect for any eral fan

this a good album every member of odd future is just filled with talent

At first I was the on skeptical side because I didn't want to jump on all of the hype of his album coming out. Everybody was creating this superb uproar for it, which he is an amazing lyricist, but I didn't want the album to become a disappoint for me. When I finally bought the album I would have to say it was really superb. This album to me is a beginning of Earls career.The reason I say this is because while the album is amazing you can still tell he really doesn't want to have to much pressure one him. Most of the songs, he lets others either go first on a track or have more lyrics. Don't get me wrong though If you buy this album you will not be disappionted.

This was my first CD from Amazon and it came in great condition. As an Earl sweatshirt fan, I love the album. Also the best song on the album is molasses

Very tuff Thebe Neruda Kgositsile🥹

In 2010, a then 16 year old kid from California, Earl Sweatshirt (Thebe Kgositsile), released a mixtape called "Earl." He had recorded it predominantly with the help one of his best friends--Tyler, The Creator. Tyler was the magnetic force of nature behind rising rap/production/art crew, OFWGKTA (aka Odd Future). Together with Tyler's self released album "B***rd", suddenly the Odd Future kids were blowing up the underground rap scene. While Tyler was volcanic and seemingly delighted in seeing how obscene and strange his bars could be, Earl was quieter though no less extreme--and yet also displayed a shockingly arresting skill at wordplay. Despite the DIY production and rather murky beats, Earl became one of the most buzzed about rappers of the year with the mixtape "Earl" making several respected "best of the year" lists.Then suddenly Earl disappeared off the internet and off of Odd Future's mixes. For two years, people wondered what had happened to Earl while Odd Future released crazier and crazier explanations for his absence, which played no small role in contributing to the mystique of Odd Future. Eventually, it was leaked that Earl's law professor mother had sent him to a school for "at risk" boys in Samoa. And then Earl was suddenly back just as quickly as he had been gone. However, while Earl had been off isolated from the world--the world was focusing in on Earl and the Odd Future crew. Tyler had started working with veteran music jack of all trades, Christian Clancy, who had been instrumental in guiding Eminem's early career. Odd Future member Frank Ocean was setting the r&b world on fire. People were listening. All eyes were on what Earl would do now with virtually total freedom over his music not to mention direct access to the best of what the rap industry had to offer.Which brings us to "Doris." Light years more mature than "Earl", Earl has realized that shock tactics and gleeful fantasy rapes and killings quite simply cease to shock and lose their impact. Instead, Earl turns his insecurities and frustrations inward, offering up both intimate details of his life as well as a glimpse of the now man behind the Earl mask. The absence of his acclaimed poet father (Keorapetse Kgositsile), his loving but push/pull relationship with his mother, and his insecurities of dealing with such sudden and high expectations are all laid bare. One of the most rightfully talked about lines of the album comes from "Chum": "It's probably been twelve years since my father left, left me fatherless/ And I just used to say I hate him in dishonest jest/ When honestly I miss this n****, like when I was six/ And every time I got the chance to say it I would swallow it."Now the music is a step above what many of the Odd Future crew have been putting out, and yet it still is within the same similar style of synth laden spare beats. There are virtually zero hooks on this album, almost being an endless stream of simply rap. This is both refreshing as well as one of the album's more annoying aspects. Aside from the real standout tracks, the rest of the album is practically a stream of consciousness as opposed to sounding like individual songs. Intriguing, but I'm not quite sure that this works out in the way that Earl intended.There are a couple of songs, notably the Neptunes produced "Burgundy" that have a unique flair--but the rest fall into a similar pattern despite having different structures and being produced by a slew of different guys like fellow OF crew members Tyler and Matt Martians, not to mention Alchemist, Flying Lotus and more. It's interesting that Earl himself actually co-produced much of the album under the pseudonym "randomblackdude" along with Christian Rich (J. Cole, Lupe, Pharrell). Still, there is a cohesive, sleepy, muffled dissonance that is pervasive throughout the whole album. It's fitting for the lyrics, and Earl's slower delivery--and yet at times it feels like you're just slogging through without needed pops of relief.For as many producers as appeared on this album, there are almost as many features like Mac Miller, RZA, Domo Genesis and Vince Staples. Herein lies my second big gripe with this album. For supposedly being all about Earl, this album has very little Earl actually on it. There are literally just four tracks without a feature--and two of those don't really count. Sometimes it pays off in spades--the emotional Frank Ocean track "Sunday" is perhaps the best song on the album, and the songs with Tyler have a palpable energy as they just feed off of each other. However, the album starts off with a weak track featuring no-name SK La'Flare, and you can't help but wonder why someone simply didn't just tell Earl no. Quite simply, this would have been a much stronger album if there was literally just more Earl."Doris" is part confessional, part coming of age, and yet part wholly detached and unaffected teen cool. Though "Doris" is no "Earl" in terms of graphic content, it's no "Heist" or "Recovery" either, so if "Relapse" era Eminem isn't your thing--you're probably not going to love "Doris." Although, quite frankly I doubt this will be an album that many will "love" or push as a classic. It's not. It's so insular that my appreciation of it is more academic than emotional (though if I'm in the right mood it can really hit home). What it is though, is a very exciting debut of potentially one of rap music's biggest future heavyweights. It reaffirms Earl's prodigious talent (especially at internal rhymes) and shows how exciting and adventurous rap can be when not overburdened with creating radio hits. This is much hungrier, much rawer and much more skilled than almost all of the mainstream rap releases of 2013--Jay included. And so for that, five stars.

It came in a good condition, there was a small dent in the corner but nothing big, and its spins PERFECTLY, there’s no skips from what I’m hearing and I recommend to buy it

I've been waiting on this album for a long time and It has surpassed my expectations in a very good way. Earl seems to be stepping away from the "shock value" lyrics that made his Odd Future crew and himself famous much like Eminem in his slim shady days. This to me is a good thing. At only 19 he put together a very impressive album and I think he will only get better and better. This is a really solid major debut for Earl and without detailing what I like from every track I'll just say I love them all and this will be on repeat for weeks months and years to come.

It honestly seems more than 3 years ago since Earl Sweatshirt's debut project Earl was released, considering everything that has happened to him and Odd Future. But what makes the 3 year gap between Earl and Doris seem most suprising is the immense growth of Earl as an artist...From a more raspy, dark, multi syllable delivery of lyrics to even producing his own songs (Under the alias randomblackdude) Earl feels his most comfortable musically. With his new style being perfectly flexed on songs like 'Molasses', 'Hive' and 'Centurion', Earl even gets introspective with subjects such as love ('Sunday' with Frank Ocean) and the pressures that have faced him since returning from Somoa ('Chum') and making this very album ('Burgudy').From beginning to end, the 15 track offering fails to dissapoint any fan of Earl's or of Odd Future's with Earl being lyrically and sonically outstanding throughout. Even when the majority of the song is given to his guest features (Tyler on 'Sasquatch', Sk La' Flaire on 'Pre' and Mac Miller on 'Guild') Earl never seems like a guest on his own album.The only flaw of this album (and it is a small one) is that most of the songs on the album are under 3 minutes long, and when every song is as amazing as the one before it you sort of think "come on Earl, just one more verse!". However, saying this, no song feels rushed or premature, definitely a case of "less is more".

so good. The instrumentals on this are so good. They are a bit dark, but very good quality. BADBADNOTGOOD and Jay z are on this.

La voila la relève !! membre des Odd Future, Earl cale son flow sur de très bonnes prods ! un must have !

I bought this as a gift for someone but they were very pleased.

94年生まれのティーンエイジャーにして、変人ヒップホップ集団Odd Futureのメンバー、そして稀代のリリシストであるEarl Sweatshirtが、2013年にColumbiaからリリースしたファーストアルバム「Doris」。2010年のミックステープ「Earl」のリリース後、UCLAの法学教授である母親の勧めでサモアの学校に通うため、一時期活動を休止したりもしましたが、OFメンバーが勢ぞろいした大作「Oldie」、同僚の中でもずば抜けた評価を受けたFrank Oceanの「Super Rich Kids」、LAビートミュージックのパイオニアFlying Lotus(Captain Murphy)の「Between Friends」などでめきめきと頭角を現し、満を持してのメジャーデビューとなりました。ラップでは、TylerやFrank OceanをはじめとするOFメンバー、Wu-tang ClanのRZA、Mac Miller、Vince Staplesらをフィーチャー。プロダクションを担当するのはEarl自身（randomblackdude名義）、Tyler、Hal WilliamsらのOF関係者だけでなく、RZA、Christian Rich、The Neptunes、BadBadNotGood、Samiyam等、ドープなサウンドを得意とする当代きってのミュージシャンたちが集まっています。Tylerのような猟奇性を感じさせる「Centurion (Feat. Vince Staples)」「Guild (Feat. Mac Miller)」「Whoa (Feat. Tyler, The Creator)」「Sasquatch (Feat. Tyler, The Creator)」などOF色の強いトラックもありますが、この特徴的なP陣の影響で、ほとんどの曲は非常に恍惚的なものに。自分を捨てた父親(Keorapetse Kgositsileという南アフリカの高名な詩人)に対する怒り、素直であろうとする自分の心と犯罪的な行いの矛盾などが込められたリリック、しばしばMF DOOMとも比較される定型外のライミング、地を這うようなラップが、このサウンドに上手く嵌っています。重低音のベースと静かなラップがひたすら心地良いファーストシングル「Chum」、サードシングル「Hive」。あるいはRZAらしいオールドスクールなサンプルとスリリングなドラミングがまた違ったサイケデリアを感じさせる「Molasses (Feat. RZA)」などはその典型。さらにラストトラック「Knight (ft. Domo Genesis)」ではそのRZAがかつてプロデュースしたRaekwonの名曲「New Wu」をサンプリング。メジャーデビューアルバムでWu-tang Clan勢をサンプリングする度胸、そしてそれを許されるだけの技量をもったラッパーなんて他にいるでしょうか。しかもピッチを弄られたラップ、かすかな音量で流れるきらきらした電子音など、Flying Lotus系のドープなプロダクションが施されていて、聞いてると脳みそがふっ飛ばされそう。Kendrick Lamarが「Control」で喧嘩をふっかけたのは、Jermaine Cole、Big KRIT、Wale、Pusha T、Meek Millz、A$AP Rocky、Drake、Big Sean、Jay Electronica、そしてTyler, The CreatorとMac Millerでしたが、あの曲のレコーディングがもう少し遅かったら、そのリストの最後にEarl Sweatshirtの名前も追加されていたのではないでしょうか。個人的には、今までの人生で聞いた「ティーンエイジャーのアルバム」としては間違いなくトップクラスの出来。最高でした。（あと内容には全然関係ありませんが、かなり良い質感の紙ジャケです。ヒップホップ界隈ではまだプラケースが主流ですが、OFメンバーはデジパック好きなんですかね）