Tag Archives: Ye Ali

Ye Ali – Gemini

We’re back again, having already released Ye Ali & Chill 4 and the dance EP, WYA? I’m Not Mad Anymore this year, plus two new singles featuring Ro James and Eric Bellinger, the Indiana musical maverick returns with yet another EP, Gemini.

I hadn’t even got round to reviewing the extended version of Who Do You Call, with Ro James adding his unique tone to the mix and Regular Occasion (ft. Eric Bellinger), more sultry efforts from three of the current crop of crooners, and yet here we are, with this surprise drop. Gemini blends the feel of recent releases into a concise 5 track EP, kicking off with BABYONME, linking back with frequent collaborator DCMBR, though serving as an intro, it transitions into the wavy DANCEONME, a sexy mid-tempo joint balancing his smooth vocals with the infectious hi-hats, it’s a super solid solo offering that is well appreciated in this format. EVERYBODYSFAVOURITE and OVERIT sit perfectly in the middle of the project, providing more musicality and ambience, bridging between the two standouts DANCEONME and another result of his recent experimentation with the uptempo rhythms, 2MUCHTIME. I never knew I would like these soulful dance records like this and 2MUCHTIME is the epitome of that, a well crafted mix of modern day R&B layered on a bed of a party-starting, head-bopping club beat. In an era where some R&B artists have released sped-up versions of their slower efforts, he’s been able to create a whole original vibe of it. The only critique could be the length of the project, if you take the two from this, with a few others from each release, you have a close to perfect album, which as a fan only makes you wonder what else is in the tuck.

With these multiple releases, Ye Ali reaffirms his position in the game and the duality of Gemini only adds to the plethora of styles and sounds he’s mastered as he continues to progress the evolution of R&B further.

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Ye Ali – WYA? I’m Not Mad Anymore

Having cemented himself in the R&B realm, as an artist (including last year’s Ye Ali & Chill 4)and behind the scenes, writing and producing with newcomers and legends like Chris Brown, Ye Ali has been experimenting with genres, from displaying more raps to now releasing this new dance album, cleverly titled, WYA? I’m Not Mad Anymore.

There have been a few dance album attempts of late, Drake tried and it didn’t transition how he might have liked, Beyonce on the other hand, was able to cut through but more so as her discography has given glimpses, so initially, hearing this was a dance album, I might not have been as keen, preferring his R&B prowess, however, upon actually listening, I was surprised.

Seven tracks of upbeat soul (produced along with JVD) starting with Eyes Wide Shut, a perfect blend of his soulfulness with the club ambience, an insight into what this project is. No More Chances establishes the theme and is the more natural of the blends and maybe even my personal favourite. Party Just Peaked continues that vibe and is one of those classic picturesque songs that could have easily been a Chris Brown hit. Strangers In The Club musically is the more dance sounding, other than the harmonies in the back and he gets to rapping in what felt like a more British twang, it’s something that Pink Pankthress for example could deliver, which just highlights Ye Ali’s ability in constructing these tracks. Track 5, Secrets, the shortest track on the album is also one of the catchiest, though serves as an interlude, at this point I’m surprised that I’m enjoying a dance album as much as I am, nodding along to the uptempo drums. Echoes follows suit, similar style to the fourth track but doesn’t feel as experimental, before Who But Me? the smoother of the dance tracks, that not only is reminiscent to previous Ye Ali efforts, but also closes out the album nicely.

If you said he compiled some of the more upbeat R&B tracks in the vault into this concise project, I might have leaned towards it more, though the A&R part of me feels there are a few songs from this that might have stood out better amongst the more traditional releases, notably No More Chances and Party Just Peaked as the standouts, however, conceptually WYA? I’m Not Mad Anymore works well, as it isn’t too far left for his fanbase and will help him venture further in this direction as a creative.

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Ye Ali – Ye Ali & Chill 4

There’s no stopping the budding hitmaker, since last year’s Private Suite 5 release, he’s dropped the collaborative THJ Radio Vol.1, the explanatory titled Rap Sanga, even a dance project, WYA? I’m not mad any more and another R&B offering with the fourth instalment to his Ye Ali & Chill Series.

The grammy winner continues to elevate R&B with this 8 track project, leading with the catchy Leave The Party, where he blends his soulful prowess and ability to rap, into the harmonious Catch Feelings. As he continues to evolve as an artist, he’s definitely looking to glide through genres, displaying some more raps on Her Side, but like the singing, he’s able to effortlessly experiment with flows and cadences, as evident on Hopefully, a smooth merge of the two. Track 5, Concept, though feels like an interlude being the shorter of songs, with it’s uplifted chords and nostalgic synths, contrasts the sexy IV Way, a darker and more sultry sound in comparison to Track 7, (another fan favourite) Come Inside, though similar, it feels more weighted, and is another display of modern R&B with those old school elements. Further drawing on those elements, he closes out the project with the percolative outro Secret Oasis, concluding another solid offering with Ye Ali & Chill 4.

At this point, it’s too easy for him, but what’s pure about his artistry is that where most are focusing on their branding, his is being built of his attention to the music across the board, something that makes Ye Ali not just prominent but provides longevity.

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Ye Ali – Private Suite 5

As R&B wavers in and out the mainstream, not far off in the underground, foundations are being laid for the genre’s new age, with Ye Ali at the helm. Having orchestrated in the background for the forthcoming compilation project, he returns to the forefront with the 5th instalment to his Private Suite series.

No time wasted, it starts with Sex In Your Mind, serving as the intro, it sets the scene (the, “in your mind” aspect of this song is such a traditional spin), leading into Good Girls II, switching the tempo up a notch, it’s a similar sound to the current R&B/Drill mash emerging out of New York (and who better to flex in that realm), with it’s notable samples including the legend Joe. Now X3 (featuring 11:11, Zae France and Mizzy Lott) gives us a glimpse into that compilation project. Track 4, Deleting Apps, a great example of Ye Ali’s penmanship, as a lot of today’s R&B are attempts of the golden ages, he actually challenges the norm with his writing and musicality, which sounds current but feels like the classics. Further justified with Missed Birthdays, the sonically sexier of the songs, it’s actually one of the best tracks of recent, especially if you account the vulnerability to confidently deliver such toxicity. Next is the exotic Pree Di Ting (Hold Up), “I know she got a schedule, but I’m not scared to call..”, he opens with, over the warm afro-infused composition, showcasing the depth in his craft. The theme is maintained with Girls From Houston, acting as an interlude before another standout track, Open Late, R&B at it’s core, with the subtle samples, it’s a solid effort with fellow collaborator DCMBR & Benstar, before the actual interlude Pictures With The Opps, breaking the fourth wall whilst restoring the toxic balance (can’t believe she burnt the PS5). Concluding the project with the first and (previously reviewed) well-received single Good Girls.

For a few years now, Ye Ali has garnered a loyal audience and could well have just focused on his solo success, however, he’s always appeared to put the art before him and whilst evident in the quality of these releases, it’s certainly not gone unnoticed as he’s being touted as a successor in the genre to the likes of R&B maestro Tank. With the compilation album on the way and rumours of Traphouse Jodeci 3, the future of R&B is in safe hands.

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Ye Ali – Good Girls

Since my Introducing: Ye Ali article in 2018, he’s since gone on to establish himself as one of the forerunners of R&B, beyond an artist, he’s worked behind the scenes with not only the likes of Chris Brown, but a whole crop of up and coming R&B stars. With multiple instalments of his now classic projects (including the more recent mixtape Private Suite 4), Ye has developed his craft further, from production, songwriting and vocals, spreading his wave throughout the new rise of R&B through various production camps, his imprint is visible, and his latest release is a testament to that.

Good Girls, caters to his core, it’s soft melodic base, rests comfortably within the crisp hi-hat, allowing him to accentuate his vocals, accompanying ad-libs and glittery chimes provide the backdrop for him to push his lyricism to the forefront with classic R&B simplicity. It serves as a solo teaser, with his compilation project on the way, he’s definitely positioning himself towards the top of that new R&B lineage.

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R&B King Que

So yesterday morning, I saw a video from Jacquees, claiming he’s, “the King of R&B, right now, for this generation.”, I didn’t think much of it, and went on with my day, by the end of the night however, I logged back into the matrix, to find the shit trending, and everyone discussing who the King of R&B was, with the obvious names such as R. Kelly thrown in, plus the typical people desperate for validation, mentioning whichever names had not been said thus far, with Carl Thomas and Donell Jones amongst them.

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See this is exactly why I did not think much of the video when I saw it, because Jacquees, who is prepping for the follow up to his 4275 album, knew everyone would latch at the bait and they damn sure did. It reminded me of the time when T.I. jumped out the gate claiming to be, “King of the South”, and people were outraged, until the South basically confirmed it. If you’ve followed me for a while, you’ll know how highly I rate Que, while the majority may have only been introduced to him through the ‘Trip’ controversy, the young crooner has lead a resurgence of R&B today, amidst the Hip-Hop wave. While he may appear to be reaching, having only released his debut album this year, he’s not entirely wrong.

If he said Prince of R&B, nobody would have disagreed as much, unless you’re one of those people that just loves to argue anything. However, the miscommunication is when he says, “this generation”. (Aside of the controversy), R. Kelly is undoubtedly the King of R&B, many had heralded Trey Songz as the successor, as he stood alone in modern music, as someone that could actually sing. You also have Jeremih, or the phenom Chris Brown, who has the accolades to back it, but because they’ve been around for so long, they could be considered veterans, almost not of this generation, which brings us to the new crop.

In the past five years, Hip-Hop has continued it’s ascension (albeit backed by club anthems), while R&B has glimmered through rap’s melodic phase, with Drake leading charge, and while a case could be made for The Weeknd, he’s also transitioned into that popstar realm, which would see him out of the conversation. so then you have the likes of Ye Ali, TyUs, Brent Faiyaz, Daniel Caesar and Jacquees, while the first couple names are still relatively unknown on a mainstream level, just under Brent Faiyaz, the three have yet to make that commercial leap, where as Canada’s Daniel Caesar has had a great run of late, but has just been praised for his soulful music, beyond the genre, which leaves us with none other than, Jacquees.

I’ll even throw Tory Lanez in the mix, but he would be more so under that Drake umbrella of both Rapping and singing, unless he decides to challenge this and sing his way into contention, which by now, nobody would be surprised, because he is skilled in both sets, but it makes sense to consider sole R&B acts for this.

As much as I would like to cement that statement, especially with the unnecessary outrage, there are at least three other names who have really carried the torch for R&B in recent times, one being Miguel, who has given us consistent R&B with hints of experimentation and strong vocals. Ty Dolla $ign, who has provided soul throughout the charts, from production, songwriting, to even crooning adlibs for some of the biggest records of the year. Last but not least, PartyNextDoor. The latter can really be credited for the recent rise of R&B, from his contribution to Drake’s projects, his choice of samples, to penning the biggest hits for the biggest artists, but even through his own catalogue, it’s been modern day R&B with classic essences.

I’ve felt like PND was the new King of R&B, before I even heard Jacquees, and there is still some debate, with Jacquees being one of the more natural vocalists. If there was ever to be a sing off, Lamborghini Que would be a tough opponent, and with Party somewhat MIA at the moment, it would appear justified for Jacquees to feel like he is the King of R&B, right now, for this generation.

There is also room for the understanding that Jacquees is of a darker complexion to most of the recent ‘stars’, he isn’t the tallest and there are no other tricks or gimmicks (unless you count his statement as one) other than his ability to sing. You also have to consider the recent Soul Train awards, where you had the legendary Jon B and Donell Jones perform, yet Jacquees might have got the better reception for his performance. I enjoyed his album, and look forward to the next, but while he rides high off his recent success, the many talented and respected R&B acts who have struggled to make/maintain the impact he has had of late are unlikely to champion him, and so he most definitely has to deliver as such. Also a lot of the names being mentioned, like Donell Jones (who is on his album), have clearly passed the torch/encouraged him enough to feel this way.

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Introducing: Ye Ali

As LA thrives with an authentic array of artists and producers, it’s sound is evolving, from being rap-centric, (and while that is currently thriving) there is a strong emergence of a more soulful sound, lead by the likes of Ty Dolla $ign, with TeeFli and newer acts such as 24hrs and Bino Rideaux amongst the ranks, another one to watch for is Ye Ali.

A blend of both rap and R&B, he’s found himself as one of the more overlooked talents, rising to acclaim in 2016 with his Traphouse Jodeci project..

A showcase of his style and sound, drawing from influences and delivering a complete body of work through as concept that proved consistent from the first track down to the last. He expanded on that with Private Suite..

..allowing him to merge more of his R&B influences with his current feel, featuring the fan-favourite Ring x4. Both projects helped sustain a fanbase, which the next year were gifted with Passion & Patience.

A more refined version of the previous offerings, like an album, and while it overall was well received, it’s also boasted the big record Talk Less..

(Initially I was reviewing this track and video, however, as I saw it continue to fly under the radar, I felt that Ye Ali overall deserved mention for his work thus far.) Featuring the classic Ashanti sample, he’s able to comfortably croon and more so make his presence felt without being overshadowed by the sample itself. Talk Less has slowly gained traction, finding itself to the ears of influencers and helped spur Ye Ali even further, and as much as it’s last year’s lowkey anthem, I would not be surprised if it found itself circulating through this summer, as it has still not fulfilled it’s potential. The track also helped highlight the quality that comes from him working with producer Bizness Boi, who together had created a vast amount of his work thus far, and as both continue to excel in their own lanes, it only means for more good music and success to come.

One thing is for sure that Ye Ali has been ahead of his time, with his previous finding itself inspiring some of today’s tracks, for the likes of Chris Brown and more.

If you like what you have heard thus far, then be sure to stay tuned, as he continues to develop on his craft and provide the vibes, much like his recent two collaborations..

You can expect to hear a more developed sound as he is no doubt working on a new project, one that I am sure will help raise the profile of himself, his artistry and penmanship.

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