I saw Drake’s trajectory when I first came across Brand New, then Wayne entered the fold and we witnessed a LeBron like ascension, in my opinion there aren’t many students of the game better than him, and this pinnacle is evidence. He once said himself, “I signed up for greatness. This comes with it”, and it sure has, as he’s found himself having to go against some of the most formidable adversaries, his biggest being his time at the top. Whether it’s contractual obligations or personal choice, but the qualities of his artistry that made the purists raise him up have been scarce (if not missing) of recent, and whilst serving the mainstream, their support isn’t as solid. Highlighted in the battles with Joe Budden, Pusha T and of course Kendrick Lamar, all three he won on numbers, but the cultural currency is far more valuable, and there he’s lost each time.
But as the perimeters in the business of battle evolve, there’s usually a next move and while dumping 100gigs of content in the internet is borderline desperate, as the fickle game eats it up, it’s genius as his relevancy continues. What I do like is, there’s no pictures or promo, just art. Maybe as a kid I would be excited by this or buy into it all, but I skimmed through the recent three pack and it was more of the same, however, yesterday, No Face found it’s way to my ears, and it’s like when the undertaker would get up. It’s not comparable to Not Like Us, but separately, for the first time in a while, it sounds like Drake.
Let me start with, I hate the chorus. If I was in the studio, I would have pushed for something else, because the performance of the verses are top notch, it starts with a flow reminiscent of The Language and HYFR, but it effortlessly transitions into the current version of that, with those little details and nuances he adds that make this stand apart from the other efforts. We got glimpses of it in the battle, but for whatever reason he wasn’t in the same space as this. Even the production (40 definitely worked his magic on this), Drake’s had the luxury of choice over the years and when he’s experimented (working with the likes of Yachty), it still hasn’t felt as whole or authentic as this does, with it’s precision drums and sinister synth.
In throwing out all these different sounds, obviously there’s something for everyone, and this might be what worked for me (minus that hook), though he doesn’t need to do that, but it definitely makes things interesting again. I’m just glad to hear those elements still exist and look forward to the potential album on the way, hopefully, it’s what he wants to make and whatever the genre, be it to this level.
After news that his newly released album, Shine, which has not been so prominent within the realms of the internet, was projected to sell under 30,000 copies in it’s first week, in comparison to Kendrick’s 500,000, the term ‘flop’ began to surface.
Most recently, Joe Budden highlighted the lack of support Wale received (being a major recording artist), citing the disconnect of the radio hit as a factor, and with the release of this effort unlike that of his 2011, Ambition (arguably his biggest album). It featured the street anthem of the same name, a personal favourite, That Way, and the massive (Miguel featured) single Lotus Flower Bomb. His 2013 release Gifted had a similar aesthetic, boasting the hits LoveHate Thing, Bad (and the Remix ft. Rihanna). And then once again, his 2015 Seinfeld concept, The Album About Nothing, the third instalment to his Seinfeld-themed mixtapes, The Mixtape About Nothing (2008) and More About Nothing (2010), The Album About Nothing featured two giant singles, Matrimony featuring Usher, and (the Jeremih assisted) Body. The point being that Joe Budden might be onto something, as there has been a formula and roll out, for his albums, lead with a distinct radio hit. Shine for some reason goes against that, rather than the obvious single choices, they started with PYT, a song which I was listening to the other day, and wondering if it would have been even bigger if say Chris Brown was on the hook? and it felt like an assertive decision from Folarin to push forth with DJ Sam Sneak. It did good, well over 100million plays overall on all platforms, yet still feels like it had more potential. Even the second single, now relying on the feature somewhat, linking with Lil’ Wayne for Runnin’ Back. Definitely an underrated single, it just shows that for some reason, the hype or demand is not there the same way, the moment is coming and going without impacting the masses. I still can go back to his 2009 debut, Attention Deficit, and listen to tracks like Shades, Chillin’, Contemplate, Diary, Beautiful Bliss, or Prescription and be reminded of that time.
The album release was put forward, and the press runs ensue, which was great for me, I wanted to hear the album, but My PYT peaked about 6 to 7 months ago, and so unlike Kendrick’s release with the lyrical warning (which did get air time for the alleged Big Sean diss), but then he gave us Humble, and everyone got behind it, 100 million+ views in a month, then an impressive Coachella set, before the video for DNA, which has only pushed the run further. Yes I know, K Dot is technically a bigger artist than Wale, but here’s the thing, whilst physical sales may be low, Shine has done well on streaming services. Kendrick’s streams are a lot higher, but I tribute a lot of that to not only the sound, but the execution of the roll out.
Bringing me back to My PYT, and the time in which the album was released. The fact that Rozay’s album came before, though it helped the brand, I don’t think it helped Shine.
Wale has been overlooked throughout, from the fact that he had been uplifting the people musically from the get go, even Nike Boots was more for soul than the sole.
A modern-day pioneer for the kick game, you were not checking for foamposites ’til him, even the shoes that followed, he was a big influence. All this is great, but is his name bigger than his artistry?! Has his personality transcended the music, to where, people feel they can speak on him as if he is not one of the most talented poets of his generation?! Is MMG no longer the force it was?! Or are people just not ready for Go-Go music?!
I once thought that it was because his vocals were not as clear as they used to be, but feels more like most media are too busy sucking up to those at the top, to actually pay attention.
Shine will definitely garner more listens over time, just not at the same rapid rate as the more popular names. I was disappointed to see the image of someone not of the culture, accusing Wale of capitalising on the current caribbean trend, for his WizKid, Dua Lipa and Major Lazer collab. Sounds more like Wale once again, pushing the culture forward.
Wale, who recently became a father, he’s obviously sharing his time, and so maybe the process of it all suffered a bit, but regardless..he’s blessed, and that’s present in the music. As we have seen with Drake’s Views, and Kendrick Lamar’s TPAB, great projects, but still received criticism, leading to More Life, and DAMN. Similarly I hope Wale follows suit with his next project.
I believe in the album, it’s a quality project (might be up there as one of his best), and it will grow on you, so I realise, in reality, Wale’s discography is ahead of it’s time. As a fan, I do believe that him as a person has a part to play with things. He’s a real one. Generally, in working environments, university and so forth, some of us at times struggle with the lack of sincerity, the flakiness, leeching and so forth, for someone who wears their heart on their sleeve, not only do they tend to be introvert or anti-social, but it intimidates and only encourages the fakes to segregate further. You know the saying, “people fear what they do not understand”.
Remaining positive either way, as the music is undeniable. I am definitely looking forward to more new visuals. I’m unaware of the budget etc, My Love obviously, deserves something special, but to be honest, each song could benefit with a video. Fine Girl has so much potential too, it just shows you the spectrum that the album is.
Big up Wale on a solid body of work, I’m definitely enjoying listening to it.
Part 2 might not be as impactful as the original, but it definitely has the same feel and authenticity, as the underrated wordsmith vents out with a slight growl, painting a picture with a similar emphasis to DMX. (If they ever do a Hip-Hop Honours for X, they gotta have Gunplay perform Slippin’).
It frustrates me as a fan, that Gunplay has not been able to deliver with the same consistency, and cement his presence. This track really provides some hope though, as the multilayered rapper reintroduces himself to audiences who might not have been paying attention as much. With this track, he (open as always) pours on his battle with mental health, friends locked up and substance abuse, but it’s not a lost fight, as he speaks, “I need some Percocets, no I need some self-control”. As outcasted as he seems to become, he sits in a unique space between the likes of Gucci Mane and Joe Budden. Despite his versatility, the dark music definitely helps shed light on the realities, and thus make him an important part of the spectrum.
With a new appreciation for lyricism in motion, it’s a good time for Jupiter Jack to return, either way I’m certainly hoping for a follow up to Living Legend.
Having already introduced the collective to you with their previous record ‘Move On’, it is time for people to be reminded as they have released their debut album.
For the Hip-Hop fans, Nas’ statement that “Hip-Hop is Dead” has been proved false with the rise of this collective, Take four hungry and extremely underated artists and put them together, the result is Slaughterhouse, consisting of Long Beach’s Crooked I (once Death Row rapper, undeniably talented but looked over when they mention LA’s best), Royce Da 5’9 (Detroit representative, most notably the only person rapper to cause Eminem any problem lyrically, Joe Budden (Mr Pump It Up was left frustrated after his record label attempted to dominate his career marketing him as a softer more pop sounding rapper) and Joell Ortiz (the NY beast who was initially signed to Dr Dre’s Aftermath imprint).
The story is simple, they came to prominance thanks to their talent but then politics and outside issues forced them to part ways with their labels, whilst working on his solo album, Joe Budden recruited the three other members as features on his track titled ‘Slaughterhouse’
The feeling of this song was so monumental, in a genre that is full of ‘beefs’ and conflicts, to have four talented emcees comes together and to do it so well, there was something epic about it, focussing on the phrase “strength in numbers”, the four came together once again, this time to prove their worth in the industry. It has worked so far, if you’re a Joe Budden fan then you have now been exposed to Ortiz, Crooked and Royce, and likewise if you were a Crooked I fan, you are now introduced to the other three members, who all equally deliver with their own unique style. Their debut self titled album is critically acclaimed, a must have for any Hip Hop fan.
Today’s Throwback Track is from 2003, yes 6 years ago!! ..and the track is Marques Houston ft. Clubbin ft. Joe Budden & R. Kelly (Produced By R. Kelly)
Marques Houston’s first single as a solo artist, not many people knew that it also featured R. Kelly (Credited as Pied Piper ..only God knows why?!) along side Joe Budden. Clubbin’ was written and Produced By R. Kelly as well, it was part of a new wave of hits from R. Kelly as Kellz locked himself in the studio during his allegations and trials.
“You know we be…Up in the club
Where we do things like…Throw our hands up
All kinds of drinks are…Off in the cups
All of my thugs, Honies show me love
DJ playing the cuts”
Marques Houston could not have had a better first single, this was on heavy rotation at radio stations, on tv and in the clubs around the world, Joe Buddens feature is classic Buddens, clever, catchy and comical. Combined with R. Kelly’s sheer production greatness (including his hollering ad-lib in the back) this song sounds just as good now as it is did 6 years ago.
Fáris Rating:
9/10
“Great song, not sure about this suit though”:
MH didn't think investing in a stylist was neccesary
What would happen if 4 talented MC’s came together for the love of music?
…That is where Joell Ortiz, Joe Budden, Royce Da 5’9 and Crooked I come in, together they form the collective Slaughter House, each has been through his own fare share of situations in regards to acceptance, record labels and life itself, so together they prove to be a force to be reckoned with.
Move On is the first video released by the collective and it is aimed at those that have nothing else to ask but about previous situations, like in Joel Ortiz’s case, his release from Dr Dre’s Aftermath records. Each emcee, talks about their past situation whilst displaying the lyrical ability that sets them apart from your average rapper.
Have a look and tell me who you think took it on this one, for me I would say Crooked I.
Slaughterhouse as a collective and a movement is something refreshing and much needed in Hip-Hop
ONE Fáris 