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----------------- First Track (No Church) ---------------------

- Heavy beat with lots of bass
- Frank Ocean on the hook
- "What's a mob to a god... what's a god to a king... what's a king to a nonbeliever... who don't believe anything"
- Jay has the first verse, Kanye has a second verse
- Frank Ocean has an interlude inbetween Jay's and Kanye's verse..

carreralu112 said:
1) NO CHURCH IN A WHILE-sick beat with heavy drums... frank ocean sings a hypnotizing melodic hook ... jay-z has a great verse... idk if u guys want me to ruin the subject matter its pretty sick though ... theres a sick bridge with sorta distortiony like effects... sounds like what kanye did with bon iver on monster sort of... there were animal noises in the outro too... probably my favorite song on the album it was fucking amazing
Rolling Stone -
1. The first track we heard, tentatively titled "No Church," is Jay-Z's current favorite of the bunch. It's easy to see why. An apocalyptic rumble of a beat backdrops a diabolically earwormy hook (courtesy of Odd Future crooner Frank Ocean) about religion and power. Jay-Z unspools brainy couplets about great thinkers like Socrates, Plato, Jesus, Kanye and himself; Kanye raps about drugs and sex, among other topics.
Entertainment Weekly -
“No Church” – Features Odd Future R&B wonder Frank Ocean contrasting deities to mortals. Kanye and Jay rap of struggling, then conquering, over the roars of vicious animals.
"No Church," the first track of 11 played, one of the few referred to by name, and Jay's favorite at the moment, is a dramatic, dynamic treatise on sin and hypocrisy. Jay explicitly reflects on Socrates question, "Is the pious loved by the gods because it is pious, or is it pious because it is loved by the gods?" Deep! Odd Future affiliate Frank Ocean sings the massive, gospel-tinged, Christian-baiting chorus.
-------------- Second Track (Lift Off) -----------------

- Has a nice introduction with horns in the background
- Beyonce on the chorus (obviously)
- "Were gone take it to the moon, we gone take it to the stars..." - Beyonce
- Ye's doing his semi singing rap thing (think Runaway)
- "Showing my tattoo's such a show off" - Ye
- Ye has first verse, Jay has second
- Kanye is on Autotune at one point...
- Samples a countdown of a NASA space launch at the ending on the song...
- It's a real banger, has good radio potential...

carreralu112 said:
2) LIFT OFF- really good synths beyonce has a killer hook and kanye and jay both had pretty good verses on it i dont really remember them though... should be a mainstream success... all the bitches in the room when nuts when it was playing hahah
Rolling Stone -
2. If "Liftoff" isn't a chart hit within the next year, I'll be surprised. Jay-Z and Kanye get downright triumphal over synthesized fanfare à la West's "All of the Lights," and Beyoncé's anthemic hook is the type of thing that makes radio programmers go weak in the knees. Huge.
Entertainment Weekly -
“Lift Off” – This is likely the first single and features Jay’s better half—yep, Beyoncé—who uses her radiant outdoor voice to sing about rising to cosmic heights in life, spilling over tumbling drums and jabbing synths.
In the first song, Beyonce completely blasts off to a beat laced with heavy synths. Kanye bursts onto the track, weaving in and out of autotune and various vocal distortions. Very off beat, but in a good way. Jay-Z follows up flowing to very short or truncated verses. Clearly, Beyonce is the ancho to a song that ebbs and flows until it blasts off in a spaceship counting down. (This was actually the second song, but the first seemed to be a partial record that got hacked off.)
GQ -
"Lift Off." The second song played; Jay said he has misgivings about releasing a single for the album, but since they likely will, this would be it. Also, his wife Beyoncé appears on the (literally) space shuttle-launching chorus. So that's nice.
----------------- Third Track (****** in Paris) ---------------

- Really heavy hitting type beat
- Sounded like it was produced by Swizz Beats or Lex (someone like that)
- Jay has the first verse
- Ye mentions Mate Kate Olson in his verse
- Sample from Blades of Glory movie (supposedly Kanye's a fan) "No one knows what it means, but it's provocative..."
- "You are now watching the Throne, don't let me enter the throne..."

carreralu112 said:
3) THAT SHIT CRAZY... HIT BOY PRODUCED its a ridiculous beat sorta like a better version of drop the world and more swagged out... samples blades of glory in one part quoting will ferrel at the beginning and goes "there is one song we will skate too... and one song only..." then the song starts... pretty dope verses from what i could tell should be a favorite its an absolute banger
Rolling Stone -
3. No one boasts like Jay-Z and Kanye West. Here they talk delightful trash over a fearsome beat that grows from icy synthesizer plinks and minimalist snare attack to a fuzzed-out industrial breakdown. Midway through is a bit of sampled dialogue from 2007's goofy comedy Blades of Glory (Kanye's idea): "No one knows what it means," says Will Ferrell, "but it's provocative."
Entertainment Weekly -
“That S— Crack” – A swaggering effort on which Jay compares his skills to Michael Jordan in his iconic Bulls finale and Kanye claims that his version on the royal wedding would include a certain pair of famous twins.
Bouncy is the first word that comes to mind with Song # 3. The track almost sounds like a traditional southern Hip-Hop record. Jay's flowing much faster, sort of in the vein of "Big Pimpin'." Jay's rapping double time and then yields to 'Ye, who raps at a slower pace. The song concludes with the crash of a slowed down menacing beat, reminscent of 80s instrumentalists Art of Noise.
------------------- Fourth Tack (Otis) --------------------

- Opens up with another Blade of Glory sample "We're gonna skate to one song, and one song only"
- Otis Redding sample
- Classic soul style Kanye beat...
- Jay and Ye take turns (think Common's Southside)
- "Made Jesus walks I'm never going to hell" - Ye
- "Jay is chillin, Ye is chill, what more can I say" - Jay

Note... this song seemed to be a favorite of everyones... it was really dope!

carreralu112 said:
4) OTIS REDDING... probably my other favorite song from the album... shit was amazing... soul sample for hook and chopped up the sample for the beat and it just builds up really well and is amazing... kanye has an ill verse and it is top 3 on the album
Rolling Stone -
4. Probably the best song we heard last night, bearing the working title "Otis," spins gold from a chopped-up sample of Otis Redding's classic "Try a Little Tenderness." It's a nice callback to the soul-laced beats Kanye used to give Jay-Z back in 2000 and 2001. ("That's our zone," Jay said later. "That's what we do better than anyone else.") Their rhymes are tricky, showoffy stuff, with the two old friends trading lines like a 21st-century Run-DMC. Every head in the room was nodding by the end of this track.
Entertainment Weekly -
“Otis” – Brilliantly samples Otis Redding’s “Try a Little Tenderness” to produce the most tag-teamy of the album’s cuts. Jay and ‘Ye jump in and out of the ring, with Jay asserting he created the blueprint (get it?) from which rappers now follow, and Kanye references Audio Two’s “Top Billin’.” They’re chillin’.
The fourth song begins with a long, bluesy Otis Redding sample...which gets chopped up lovely. Jay and 'Ye go back and forth, almost bar for bar. Straight spittin.... I personally felt is was similar to the way Biggie and Jay spit over "Brooklyn's Finest," but my homey Aqua completely disagreed. Nevertheless, they went in.
GQ -
"Otis," one of the most purely soulful songs the two have ever made together, features a pounding sample of Otis Redding's "Try a Little Tenderness" up front. A clear standout and the first one I wanted to hear again.

------------------------- Fifth Track (New Day) ------------------------------

- Electronic Jazz sounding beat
- Female autotuned vocals at the beginning, Ye is ad libbing over them...
- "Fifteen down the line"
- Song is all about Jay and Ye rapping about their children they'll have in the future...
- There's a sax interlude 

carreralu112 said:
5) not sure of the name... mentions RZA in it so i think it was produced by him... there is a piano/sample driven beat... the sample is weird at first but it meshes really well ... its sorta a weird vocal effect (the sample) and i dont really know what it was but the beat turned out very well... one of the deeper songs on the album and kanye reflects on his wrongs in life and how he wants his kids to grow up ego free and loved by everyone and jay reflects on teh drug game
Rolling Stone -
5. Watch the Throne isn't all braggadocio. This slower, introspective number finds Jay-Z and West both addressing their hypothetical future children. They don't hold back, and the self-doubt and soul-searching in their verses is genuinely moving. I can't recall ever hearing Jay-Z open up quite like this before, not even on "This Can't Be Life." Kanye's verse is pretty special, too – after the playback, Jay-Z said he thinks it's one of Ye's top three performances ever.
Entertainment Weekly -
[Untitled] – A sullen cut that sounds like it’s probably produced by RZA. The guys both apologize to their unborn kids for the lives they’ll inherit: Jay is sorry his kid will have paparazzi lenses on him from birth, while Kanye promises that his son will be the exact opposite of him, meaning perfectly behaved—and possibly Republican.
Anyway, the next song was wrought with melancholy if you only went according to the track. Upon further examination, Jay-Z and Kanye trade lyrics about raising their future kids. To attempt to regurgitate the content wouldn't do the song justice. The song is a very honest and vulnerable look at something the pair long for, but not commonly addressed.
------------------------ Sixth Track (Living So Italian) --------------------------

- This was the "Por ti Volare"... rapped over a loop of the vocals and everything
- Heavy hitting drum beats over the sample after about a few seconds into the track


- Chorus: "Living So Italian, whole family's here cause it's feeling like a movie"
- "Wrote this song on the crapper" - Ye... thanks for that line Ye...

carreralu112 said:
6) LIVING SO ITALIAN... fucking amazinggggg... samples POR TI VOLARE!!!! no dj pauly d  ... its just a really laid back fun song and its super good i really really liked it they just rap over por ti volare basically
Rolling Stone -
6. Back to stunting! A sample of Andrea Bocelli's schmaltzy "Con Te Partirò" gets sped down and mangled into an improbably heavy groove as Jay-Z and Kanye tout their international lifestyle in slick verses. The phrase they chant during the chorus, and presumably the working title for this one, is "Living So Italian." Very catchy. "It was actually fun for us," Jay later explained of this track. "We were laughing."
Entertainment Weekly -
“Living So Italian” – Sampling Italian tenor Andrea Bocelli’s “Time To Say Goodbye,” Jay, displaying more of his American Gangster visage, coolly drops mafia slang. This is regal rap at its finest.
had the whole room bobbing their head in unison to a slow, dragging epic track. Feels European, the United Kingdom to be specific.
GQ -
During the hilarious, audacious "Italian Living," which features a sample of Andrea Bocelli's "Con Te Partirò" of all things, a journalist was booted from the hotel room for breaking the evening's one rule: No live-tweeting. Idiot. The tracks were unfinished and lyrics subject to change, but one memorable #hashtag rap couplet from Kanye on the same song: "I'm about to say something crazy / John Galliano."
--------------------- Seventh Track (Gotta Have It) -------------------

- Indian Influenced sample
- EPIC FIRST LINE " LOLOLOLOL White America, Assassinate my character" - Ye
- "Whats up whats up where my money at?  Do I need to come where your Daddy at?" - Jay

Sorry... didn't write alot on this song...

Rolling Stone -
7. Diced-up vocal snippets and gut-punching bass back aggressive rhymes from Kanye and Jay-Z. One of them references YC's recent hit "Racks on Racks," a nod to the contemporary rap trends this album both embraces and outpaces.
This one was a joint where Kanye and Jay rap over a singer's voice trading bars every 2-4 lines.
--------------------- Eighth Track (Who's Gon Stop Me) ----------------------

- Had a dance/rave style vibe to the beat
- Sample with the words "I can't Stop"... on constant repeat at the beginning...
- Has a real dubstep influenced sound
- "Who's gona stop me huh?  You gone stop me now" - Ye
- Has a line where he talks about his dick in pig latin (haha)
- "Black cards, black cards, black on black on black bras" - Jay

Samples Flux Pavilion - I Can't Stop

carreralu112 said:
7) WHO GON STOP ME ... (?)...This is where i got confused two songs were played in a row and i didnt know if it was two songs or just a beat change but i think it might jsut be one super long song... the first part is a cool soul sampke and ye and jay bounce off eachother... then the second part (possibly new song?) is a ridiculous club banger sounds like lex luger but refined and sophisticated and it just gets you so hyped and kanye has distortion when he says "who gon stop me" again and again ... really great jay verse on this song
Rolling Stone -
8. A sample of English dubstep producer Flux Pavilion's single "I Can't Stop" comes crashing into an enormous wall of Dirty South synths, and the beat keeps evolving from there. Kanye's opening verse includes a smidgen of Pig Latin, while Jay-Z mythologizes his street-corner-to-corner-office backstory for the ten thousandth time. It's still a damned compelling arc after all these years.
Entertainment Weekly -
“Who Gon’ Stop Me?” – Jay pats himself on the back being a self-made millionaire even though he doesn’t have a reputable pedigree, giving the finger to those who thought he’d never make it.
This song was my absolute favorite. The beat went super hard with Kanye and Jay asking aggressively, "Who gon' stop me, huh?" This song was rooted in a bassline that was deeply monophonic. At the end, the pair throw the listeners for a loop and jump off the path. Suddenly, the beat changes, random instruments come in and out of this living, breathing song.
------------------ Ninth Track (Murder to Excellence) --------------------

- Another middle eastern/Indian style beat
- Ye is singing the chorus "... Black on black murder..."
- "In the murder capital where they murder for capital" - Jay
- At one point Ye compares the death of soldiers in Iraq to those who have died in Chicago
- There's a shift in the sound in the second half... interlude
- "Celebration of black excellence" - Ye
- "Success never smelled so sweet" - Jay

carreralu112 said:
8) MURDER TO EXCELLENCE ... sorta an african soul sample i would describe it as and it talks about black on black violence and talks about  the murders in chi town and the violence in iraq... the beat switches up part way through i remember ... dont remember what the second part sounds like tho
Rolling Stone -
9. Another contemplative interlude, with West thinking about black-on-black crime rates over looped "la la la" harmonies.
Entertainment Weekly -
“For Paper We Murder” – The duo attack societal ills like black-on-black crime, wars, and deadbeat dads.
feels very African in nature. Kanye comes in singing for a couple bars and then Jay starts rapping. Interestingly enough, they are rapping about Black on Black violence. Black Panther Fred Hampton gets a mention. An unlikely positive song.
--------------------- Tenth Track (Made in America) ---------------------

- A slower style song (compared to the others on the album)
- Frank Ocean is on the hook again
- Bible and Jesus references in the chorus "Sweet Baby Jesus living in America" - Frank
- "****** hustle everyday for a beat by Ye... what I do? Give em all away to Jay" - Ye WIN WIN WIN

carreralu112 said:
9) SWEET BABY JESUS ... drum baseed beat with sorta airy zoned out synths layered over it ... frank ocean sings the hook talking about jesus and what not ... kanye has amazing verses on this song and has some good lines
Rolling Stone -
10. Frank Ocean's second appearance on the album is another keeper. Hip-hop heads will be singing his honey-voiced, religiously-themed hook all fall. Jay-Z and Kanye keep the thoughtful mood going with verses that revisit their respective rises to fame.
Entertainment Weekly -
“Sweet Baby Jesus” or “Made It in America” – An uplifting cut, supported by hard drums—and the second with Frank Ocean.
Sounds like Frank Ocean is the new golden boy...maybe? Malcolm X, Betty Shabazz, Martin Luther King and Coretta Scott get nods on song 9. This inspirational song references Jesus and centers on making it as a success in America. Kanye used a particularly clever metaphor. He raps about making his beats and selling them to Jay at the early part of his career. But they says he now "gets high on his own supply," the dope being his own music.
--------------- Eleventh Track (Why I Love You) -------------------

- This was the sample
- "Oh I love you so, but why I love you you'll never know" - sampled chorus
- Jays Verse first
- "I tried to teach ****** how to be kings, when all they wanted was to be soldiers" - Jay
- Ye's verse second


carreralu112 said:
10)WHY I LOVE YOU SO... least favorite song for me... mike dean said it needs work hahahha ... the beat is sick but the hook is kinda annoying ... jay and ye have good verses though its very mediocre to me...
Rolling Stone -
11. More European trend-spotting: A sledgehammer beat built around French house duo Cassius' 2010 single "I Love You So" rolls out while Kanye and Jay-Z indulge in some sullen thoughts regarding unnamed turncoats and ingrates. Slashing violin parts come in on the bridge before the song ends abruptly.
Entertainment Weekly -
“I Love You So” – Likely the album’s final track. The pair find their kingdoms crumbling around them. Jay raps of having his heart stomped on and, over menacing strings, explains why he’s so guarded. The throne is in danger! Perfect cliffhanger and springboard to Watch the Throne 2, which Jay said is a possibility.
Number 10 offers the operatic synths laced with a rock sample talking about love. The track goes hard. The beats elevates and suddenly...the album is over. The ending is more abrupt than anything I've ever heard.

Some other notes:

Played random parts of throw away tracks not making the album

- Time of our life baby" - Jay
- "I need a slow motion video right now" - Ye

Then there was the question and answering session:

- "I just wanted to make an album for the sake of making a good album"
- The current version of WTT is the third incarnation of the album
- The album's current tracklist has been stripped down from alot of different tracks...
- Still not sure on a final tracklist
- He's going back and forth on including HAM as a bonus track... he admits that HAM is operatic, but almost too much to the point where the song is screaming in your face... can get irritating after awhile... doesn't really fit the vibe of WTT in it's current state...
- Admits that HAM is AWESOME in concert though
- They documented parts of the recording process, but their not sure if it will be released or not

- I asked a question about working with Frank Ocean and if that connection started before or after Odd Future's rise to fame.  He started working with him when he heard Nostalgia Ultra.  Initially it was only for his solo album, but he like Frank so much he got him on WTT... he is featured on one of two tracks recorded so far for Jay's upcoming solo album... hopefully out this winter... maybe spring

- "Hopefully my new solo album is out before J. Cole and Jay Electronica" - Jay ... LOOB!!!

- JAY HAS NO URGE TO DO ANY MORE COLLABORATIVE ALBUMS (no more BS albums with someone like Linkin Park or R. Kelly)

- Kanye initially urged Jay not to release "Run this Town" as a single first, and push "New York" because he though it would be a better single... Jay used this as an example to say even if Kanye's a dick he's really humble at the same time... he killed his verse on "Run this Town" and he still didn't want it released as a single...

Oh... he played Illest Motherfucker Alive...

carreralu112 said:

11) PRIMETIME ... sick piano beat kinda like a homecoming type thing... jay has an INSANE verse ... thats all i remmeber tho

12) he just played a bit of this one and it was a synth driven beat but thats all i got on it ...

(these titles are not all the actual titles i just took what i could figure out )

there may have been a song or two that i missed because i stopped writing shit down after the first time through cuz i just wanted to take it all in... one song had swizz on it thought i remember he was shouting shit out for a bit but it wasnt that bad

jay said they remade the album 3 times because "it was too crazy and we had to bring it down to a human level"

TMB is being mastered by q-tip as we speak
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