Drake "Scorpion" Album Review

Alright, everyone, it’s finally time: there’s been hype, media coverage, beef, and everything else under the sun, but it’s finally upon us: it’s time for a review of the new Drake album “Scorpion.”

Drake, you know him, you’ve heard of him, you either love or hate him, the Champagne Papi is back with his 5th studio album (7th if you count “If You’re Reading This, It’s Too Late” and “More Life” as albums, but he doesn’t so we won’t). Before this album was even announced, I made sure to marathon review each of Drake’s projects dating back to the “So Far Gone” EP, and for the most part, I’ve enjoyed his work. However, this album has some big shoes to fill, as it comes on the heels of two of Drake’s lesser-loved projects: from the “studio album” standpoint, it’s the follow-up to 2016’s “Views,” an album that sold extremely well, and was one that I personally enjoyed in spite of its flaws, but many critics found it to be one of Drake’s weaker, more drab and more silly releases. In relation to his entire discography, however, this new album is the follow-up to the aforementioned “More Life,” a "playlist" he dropped last year that I found to be one of his lesser projects, and one that felt more like an exercise in gimmicky marketing than anything else. He started the year by releasing the “Scary Hours” EP, which had an amazing song in “God’s Plan,” but also a weaker, more forgotten track in “Diplomatic Immunity” on it. He was then a bit more inconsistent with his later singles, as “Nice for What” turned out to be one of his best singles yet, while “I’m Upset” was one of his weaker ones.

None of the inconsistency or weaker critical reviews have stopped Drake’s charting success, however: in 2017, he was able to get “Fake Love,” “Passionfruit,” and “Portland” to reach the Top 10 on the Billboard Hot 100 (“Free Smoke” also hit the Top 20), and this year, he’s arguably had more chart success than almost any other artist. Obviously, “God’s Plan” and “Nice for What” have been his biggest singles, with the former topping the Billboard Hot 100 for 11 consecutive weeks, and the latter topping for 7 non-consecutive weeks, but even beyond that, he’s gotten “Diplomatic Immunity” into the Top 10, and “I’m Upset” has peaked in the Top 15 thus far. He’s also earned prominent Top 10 features on songs like “Look Alive” with BlocBoy JB, “Walk It Talk It” with Migos, and “Yes Indeed” with Lil Baby. In fact, his chart success this year has been so strong that, even after “losing” his recent battle with Pusha T (Pusha started it with “Infrared,” Drake dissed Pusha’s artistry with “Duppy Freestyle,” and Pusha T made it personal with “The Story of Adidon,” where he insinuated that Drake had a child he wasn’t letting the world know about), Drake continued to chart high on the Hot 100 and “Nice for What” continued to stick at #1. Drake is so powerful that you can literally come out with this massive personal information about him and call him a “deadbeat dad” and basically reveal things that could've killed another artist's career…and no one will really care, they’ll still listen to his music.

Now, when approaching this new album, I was kind of torn: on one hand, I’ve generally enjoyed even Drake’s weaker projects, and even the worst of his works have at least one or two songs that I gravitate toward and really enjoy. However, I was also skeptical because, as many of you may know, Drake is no stranger to putting out long projects: “Thank Me Later,” “Nothing Was the Same,” and “If You’re Reading This, It’s Too Late” were all at least an hour long, and “Take Care,” “Views” and “More Life” were all at least 80 minutes (again, “More Life” was a “playlist” and it was longer than “Views?”). So, I had that worry floating around my head beforehand, and then Drake revealed that this would be a double album with 25 songs. While it’s refreshing to get a rap album that’s a bit longer than 7 songs after the last few, I start to wonder if 25 tracks is pushing it. Still, the two sides are two different vibes and two different styles, so maybe that’ll help them out just a little bit. Either way, let’s get into Side A, which is said to be the more rap-oriented side (by the way, I don’t think I’ll be giving them separate ratings, though I will analyze them and give some thoughts on them on their own after I finish each side).

Survival: Kicking things right off, Drake gives us a short intro that talks a lot about his beefs and his histories with other rappers like Diddy and Meek Mill, and he also talks about his experiences with Cash Money Records, who held his labelmate Lil Wayne hostage and stopped him from releasing “Tha Carter V.” I like the somewhat electronic production here, as well as Drake’s tone as he rapid-fires through this bars. His cadence feels confident, but still somewhat emotional. It’s almost as if he has the best of both sides of himself working on this one, and even though it’s a very short intro, it really sticks and it’s a really solid start.

Nonstop: Drake talks about how he “flipped a switch” on this track, flexing his abilities as not only a rapper but as a businessman, with numerous lucrative deals allowing a lot of money to come in for him. The beat on this one is a lot more energetic and click-clacking, and I like the trap influences as well. Drake’s rap flow is also a bit faster compared to the last track, and he just oozes confidence and braggadocio here. The sampled hook (which comes from D.J. Squeeky and Mack Daddy Ju’s 1995 song “My Head Is Spinnin’”) is also really fun, and the song is just so easy to turn up to. I love the energy and excitement of this song, it’s just too damn fun to resist!

Elevate: Here, Drake talks a bit about all the people that he’s helped in life, but comes to the realization that he needs to pursue more things in life than others. Think of it like what Drake was talking about back on “Energy,” except the song has a more moody vibe, and Drake sing-raps a lot through it. It’s eerie and it’s got a very fun trap drum beat, and I honestly really like Drake’s sing-rapping here, it’s smooth and it flows nicely through the song. I only wish there was just a little bit more to the song, because it feels like it ends a bit too quickly, and it could’ve benefitted from maybe another verse, but all in all, it’s still a pretty enjoyable cut.

Emotionless: Yep, the moment you’ve all been waiting for, this track confirms it: Drake IS INDEED the father of Adonis, as Pusha T pointed out in “The Story of Adidon.” Can we stop making jokes about it now? Great. In any case, while this may not be the “hard, career-ending response” to Pusha that everyone was expecting it to be, it’s got a really great sample of “Emotions” by Mariah Carey, and I’m actually glad it’s not a super angry track because we didn’t need that kind of anger anymore. I like that Drake’s lyrics are a bit vulnerable (not like “whiny Drake,” legitimately "vulnerable Drake"), as he talks about social media’s effects on people and how, despite what he might lead you to believe, comments from randoms on social media can in fact hurt. I think it’s got a good flow to it and Drake sounds great here. Will everyone love it? Maybe not, but I’m really digging it!

God’s Plan: Let’s be real here for a second, raise your hand if you think Drake, despite already putting this on “Scary Hours,” put this on the album without “Diplomatic Immunity” because it was #1 on Billboard for 11 weeks and he wanted it to jump back up on those charts. Don’t worry, I’m raising my hand, too. Even so, I’m not mad about it, because I personally love the song. I love the earworm-y hook on this one, Drake’s sing-rapping is smooth as always, and the instrumental is dark, moody, and exciting. Personally, this was my favorite of the two songs off of “Scary Hours,” and I’m okay with the fact that Drake put it on the album because it’s definitely a good track.

I’m Upset: Now THIS, unfortunately, is one of the weaker singles on the project. Sure, the hook is occasionally somewhat fun when you’re not laughing at Drake yelling “I’M UPSET!” and the dark, eerie production is kinda cool, but this is Drake in his worst form: whiny, abhorrent, and just laughable, the form that people meme from him. That said, though, I have to credit this song because with how people intensely analyzed the lyrics and tried to claim that it showed how Drake scripted out the recent killing of XXXTentacion (because, ya know, conspiracy theories), this song proves more and more why I don’t weigh lyrics as heavily as the actual sonic elements of a song (again, I do weigh them a decent bit, but some people have asked me to be a bit more specific sometimes. Songs like this are why I’m not). That said, I just found the song as a whole to be really silly and boring, definitely not up to snuff with Drake’s usual tracks.

8 Out Of 10: Hey now, Drake, don’t be rating your album for us critics. We write a lot here, we can’t have you picking out the ratings that we want to give you. Okay, for real, this song basically talks about that point I was making earlier in my review: Drake's life is very high-profile, he’s getting dissed left and right and people will come at his credibility…but at the end of the day, he’s still out here getting plays and people are still speaking his name. So essentially, he gets the last laugh in the end. I think the hook is pretty funny and enjoyable on here, Drake’s flow is great, the instrumentals are grand and luscious, and I like the subtle callouts to Pusha T’s diss track, where he mentions that he’s not a “deadbeat father” and how each of GOOD Music’s recent “Wyoming Sessions” albums have been 7 tracks. It’s obviously not a “deadly” diss, but it’s a nice "high road" response to Pusha, and it’s a good song all in all.

Mob Ties: Drake talks on this one about how he has ties to people that have been in the mob, specifically Baka Not Nice. He takes this song as an opportunity to cut ties with people he is no longer associated with. This one definitely has the most trap influence of any song on the album; once again, it’s somewhat eerie, it’s got a fast-paced 808-drum beat, and Drake heavily follows the triplet flow on the hook. I also dig Drake’s very charismatic performance, rapid-fire flow, and smooth vocals on this one, and the ethereal instrumentals mesh well with Drake’s vocals. It’s a song that’s definitely a lot of fun, and I like what Drake’s doing with it. Definitely could see this one breaking the replay button a bit in the future, and uhh, Drake…might I suggest releasing this as a single? Think about it.

Can’t Take A Joke: Well, right after that last trap-flavored song, this one keeps the trap vibe alive. On this track, Drake lives in the lap of luxury, discussing what it’s like living as a celebrity, taking vacations, and being rich. Even still, the trap-drum beat remains fast-paced, energetic, and really sticky, and I once again love Drake’s vocal performance here: his sing-rapping remains as smooth as ever, and his rapid-fire flow is really strong. Again, I think he oozes very real confidence here, and I really dig the cut all the more for it. Drake, if “Mob Ties” doesn’t get a single release, make this one a single. Please?

Sandra’s Rose: A tribute of sorts to Drake’s mother (her name is Sandra), this track takes things much slower than the last two trap bangers. I like the somewhat jazzy feel of the song, and Drake does a good job implementing the sample on this one (I couldn’t find what said sample was, unfortunately), though I don’t really find his flow or the bright instrumentals to be quite as sticky on this one. Sure, there are a few decent bars here, but all in all, I just don’t find much about it to be quite as interesting as a lot of the other cuts on the record. It’s certainly not as silly as “I’m Upset,” but it’s not quite as memorable as “Mob Ties” or “Can’t Take A Joke.”

Talk Up (ft. Jay-Z): Jay-Z is the lone feature on Side A of the project (it’s their first collaboration since 2016, apparently), and the two of them talk a bit about their come-up, with Jay-Z talking specifically about being in the streets and making a reference to the recent killing of XXXTentacion (as well as the George Zimmerman scandal). I actually find the X reference interesting because, considering that X previously had beef with Drake, and Jay-Z got to spit this bar on Drake’s record, I like that it shows solidarity on Drake’s part, even if he and X weren’t necessarily “friends,” if you will. As for the song itself, it samples “Dopeman” by N.W.A. and it’s certainly not short on energy, but I don’t really think the song has much of a hook to it, which definitely hurts. Jay-Z’s guest verse is particularly strong, but I don’t find Drake’s quite as interesting, unfortunately. And even though I liked some of the things I mentioned about it lyrically, I don’t really think I’m digging this one all that much outside of Jay-Z’s verse, sadly.

Is There More: Yes, there is. A whole side, in fact. Oh, that wasn’t a question? Sorry. Anyway, Drake talks a lot about how there is more to life than just the “rap life” that stereotypically includes women, stacks of money, and in many cases, drugs. I find this track to be particularly fascinating because it’s got the somewhat faster pace and 808-drum beat of the other cuts on the album, but I think that it’s got the ethereal, minimal instrumentals of some of the tracks from “Thank Me Later.” I like those instrumentals, I think Drake’s flow is also very strong, and lyrically, there are some really good things going on here (special shoutout to the bar where he mentions that once this album drops, he’s officially out of his deal with Cash Money Records). I also like how the track does have some light R&B influences on it, as it feels like a nice transition into the next side of the record. A good end to Side A.

Now, I won’t exactly be giving full-blown individual reviews to each side, but since that ends the first side of the record (the more rap-oriented side), and since the double album was advertised as having two different feels (unlike something like Chris Brown’s “Heartbreak on a Full Moon,” which was two discs for the sake of being two discs), I’ll give some light thoughts on this side. Overall, after listening to Side A, I definitely like where the album is going. I think that Drake definitely answered a few of the questions that we had of him after the whole Pusha T ordeal, and beyond doing that, I think he’s made several cuts that are very charismatic, energetic, and just plain fun. I can’t lie, this is just a fun album so far. I know, as a critic, it might seem weird to just gauge an album off of fun factor, but I listen to music to enjoy myself. Thus, I definitely really enjoyed myself during the first side of the record, thanks to the many turn-up jams that it had. I’m sure some will disagree (it is a Drake album after all), but I just had a great time with it. That said, let’s get into Side B (which is said to be more R&B-oriented) and see if it maintains that momentum from Side A.

Peak: Ahh, here’s the Drake we all remember: the one that talks all about his relationships and girl problems. Welcome back, Drizzy. That said, though, I kinda dig this one. As you’d expect from an R&B-flavored Drake track, it’s a very moody, ethereal song with some autotune-filtered vocals, but it gives me some pretty cool “Thank Me Later” throwbacks that I really dig. I’m sure I might be in the minority with digging a song like this, but I think Drake sounds great on it, and the very spacey production really works for me. Even with the somewhat strange Stefflon Don interludes (that also feature Vinessa Douglas and Rhea Kpaka), the song itself has a great vibe to it and I do like it.

Summer Games: Keeping on the theme of heartbreak, it looks like this one talks about a relationship Drake was in that ended during the summer. So, does he have that….Summertime Sadness? Okay, that was forced, sorry. Anyway, the song is a little more fast-paced than the last one and I really like the nocturnal, electronic production and the very busy, energetic percussion on this cut. That said, I don’t think the song does anything all that enticing vocally: there’s no real hook here, and Drake’s lowkey vocals just aren’t really all that interesting to me. Not really all that crazy about this one.

Jaded: Drake spends this song talking about his alleged romantic connection to Jorja Smith, as he croons over a somewhat more uptempo trap-drum beat and more bright, but still very moody, low-key production. Drake’s vocal flow on this one kinda reminds me of “Too Good,” which I actually enjoyed even if no one else did. I do think he sounds quite nice on this one, the hook is pretty sticky and fun, and Ty Dolla $ign adds in some nice uncredited vocal ad-libs as well. Though I wasn’t 100% crazy about Drake’s flow on the second verse, I still really dig the song and think I’ll definitely come back to it in the future.

Nice for What: Chances are you’ve heard this song more than a few times, it’s only been #1 on the Billboard Hot 100 for 7 weeks, and it’s only one of the biggest songs of the year. And, on top of that, it’s only been getting quite a bit of critical praise lately, and rightfully so because it's one of my personal favorite Drake songs. With a great message about female empowerment in the age of social media, a really great sample of Lauryn Hill's "Ex-Factor," plenty of very real bounce and energy, great smooth vocals from Drake, and a hook that gets stuck in your head easily, this is Drake making what is easily one of the best tracks in his storied discography. It does feel weird following up on a few more downtempo tracks with this, but there’s a good reason this one has been at #1 on the charts for so long: because it’s just that good.

Finesse: WE OUT HERE DRIPPIN' IN FINESSE, IT DON'T MAKE NO SENSE, OUT HERE…oh, crap, sorry, I thought this was Bruno Mars’s “Finesse.” Uh, either way, it’s another song about a girl (or two, since he seems to be alluding to Bella and Gigi Hadid)…go figure…but anyway! This one takes things right back to the slower pace after “Nice for What,” and while I like the click-clack percussion and chill feel of the song, I don’t really think there’s much of a hook here, and it also feels like there’s just not enough to the song. It ends all too quickly and it doesn’t feel like there’s a whole lot about it that makes it warrant repeat listens, unfortunately.

Ratchet Happy Birthday: I don’t know what it is, but that title fascinates me for some reason. “Ratchet Happy Birthday?” Huh, okay then. Anyway, Drake talks here about a girl (yes, again) who feels emptiness and emotion on a day where she shouldn’t: her birthday. You know, as someone whose birthday will be here next week (July 7th, in fact), why do I feel like this isn’t actually about a girl, and Drake was writing it about me? Either way, I like the very mellow feel of the song that’s juxtaposed by the very frantic keys and fast-paced drum beat, though I do think Drake comes through with some struggle bars here (“I know you're soft like buttercups / Reese's, Reese's, don't be ridiculous” just made me chuckle a bit). Still, Drake sounds decent enough (even when he does the goofy tongue roll when he says “it’s your brrrrr”) and the production is great on it; it’s just not one of my favorites on the album.

That’s How You Feel: Again, it’s a song about a girl that Drake likes, even if she might not like him back. This is the “pop” side of the album, the lyrics matter less and less unless they end up being complete cheese. Luckily, they don’t end up being cheese here, and I think that Drake’s vocals and flow are very smooth and fun as well. The trap drums might seem very similar to a lot of the other songs on the album, but it’s still pretty solid and the moody production is quite nice. Oh, and the song samples a Nicki Minaj remix to “Boss Ass Bitch” and it’s used to very entertaining effect. I did like this one quite a bit.

Blue Tint: Oh, but HERE…HERE, dear readers, Drake talks about getting back with his ex! It’s different!…in a way!…I promise…oh, hell, it’s not. But still, I like the production here as well, with a very energetic, click-clacking drum beat, some very bright instrumentals and fun strings, and a great vocal performance from Drake. I like his flow throughout this one, his vocals are as smooth as ever, and I think the hook is one of the better ones on the R&B side of the record. Future also makes an uncredited appearance here, and while he hardly amounts to much more than a cameo, I do think his short appearance flows nicely enough. Definitely enjoyed this cut.

In My Feelings: Drake gets meme’d quite a bit for being very emotional, and now this new album actually has a track called “In My Feelings,” following Side A’s track “I’m Upset.” I think Drake is slowly becoming self-aware. In all seriousness, this very uptempo cut sees Drake crooning (and rapping a bit) about "Kiki" and "KB" (apparently a nod to model and social media personality K'yanna Barber) as well as The City Girls, and oddly, while I thought I would be making jokes about this one, I actually really enjoyed it! The uptempo production brings me back to “Nice for What” and it keeps that same energy (there were points where I legitimately thought Drake sampled that song, which would’ve been ironic), and I like how Drake mixes up between his smooth crooning and his rapid-fire rap flow. The hook is also really great, and the background guest appearances from Lil Wayne and Magnolia Shorty round out the song and make it a great listen!

Don’t Matter to Me (ft. Michael Jackson): Drake with a Michael Jackson feature? One, how? Two, respect. This very nocturnal song sees Drake using vocals from an unreleased song that he had recorded during the 90s, and look, when you put Michael on a song, chances are you’re making it better. That’s what happens here, as the song has a very sticky drum beat, great hook, smooth crooning from Drake and, of course, gorgeous upper-register vocals from Michael. Actually, outside of the more electronic feel of this song, I actually can imagine how this could’ve been a great MJ song. I really dig it!

After Dark (ft. Static Major & Ty Dolla $ign): Paying his respects to yet another fallen artist, this track actually features the late Static Major, as Drake adds some of his unreleased bars to this cut. On it, Drake and Ty Dolla $ign (of course) croon about a girl, doing so over a somewhat old-school instrumental that reminds me a bit of some 2000’s Mariah Carey (think “We Belong Together”). I like the smooth guitars on this one, Drake and Ty Dolla $ign have some great vocal interplay, and Static Minor’s appearance might be small, but it’s a cool track that feels like a pretty nice throwback. I really enjoy it!

Final Fantasy: Okay, look Drake, two things: one, if you’re gonna make a song called “Final Fantasy,” make it the last song. I know the next song kinda needs to be the last, but if you make a song called "Final Fantasy" the penultimate track, it’s embarrassing. And second, I get that you want to talk about your sexual fantasies, but…bruh, a song called “Final Fantasy” that doesn’t bother to reference the video game series? Come on, man! Either way, while the instrumentals are nicely dark and eerie, I don’t really find Drake’s somewhat emotionless vocals on the first verse to be quite as interesting here. And while I think the mood feel is interesting on the second verse (Drake alludes a bit to the baby rumors, and then takes things back to the more ethereal instrumental feel in the second half), I don’t think it’s quite enough to make the song amazing, though it does save the song from being one of the worsts on the album.

March 14th: This is another song that’s gonna get A LOT of talk because, remember how Drake admitted in “Emotionless” that Adonis is his kid? Yeah, this one goes into a lot more detail about that. I really dig the instrumentals on this one that interpolate the “Khalil (Interlude)” by Boyz II Men, and I like the mature approach that Drake has taken to the controversy that Pusha T brought up about his kid, and how instead of trying to fire shots at Pusha T about the whole ordeal, he instead came clean on it and admitted his hopefulness that he and the mother of their child, Sophie Brussaux, will be able to stop the fighting for the sake of him. It’s an emotional track, yes, but I appreciate Drake’s mature tone on it. I’m sure that this would’ve been a hard-hitting track even if Pusha T didn’t reveal that Drake had a kid, but I feel that even the additional context doesn’t really take away from my enjoyment of this finisher.

And, that’s the end of Side B. Overall, I dig that, with this more emotional side of the album, Drake decided to take things back to the older sound that made him successful on albums like “Thank Me Later” and “Take Care.” Even if it is “moody Drake” and “sad Drake,” I still think that the production and vocals throughout this side were great and they made it worth listening to. I’m sure it’s not for everyone, and most people might disagree, but I really dig enjoy this side of the project a lot.

Overall, I'm sure you can tell by my sum-ups that I really did enjoy this record, and while many will disagree with me, I’m not gonna let that detract from my enjoyment of it. You guys know that I’m not too fond of these long albums, and I was very nervous going into it, but I do think that, with “Scorpion,” Drake has put out his best project since “If You’re Reading This, It’s Too Late,” and his best studio album since “Take Care.” Is it better than those two? Give me a few more listens then we’ll talk, but I think what I dig most about the album is that, not only does the double-sided nature of it allow it to appeal to different Drake fans and also allow the two sides to be more focused, but I think that, with “Views” and “More Life,” Drake started to experiment a bit with styles that didn’t quite work for everyone (for example, the dancehall-styled songs that used a lot of Jamaican patois that rubbed a lot of people the wrong way). With this album, I think that Drake did the smart thing to throw things back to the style he had before “Views,” and the album was more successful for it. Instead of trying to get too experimental, Drake came through with the vibes that his fans most enjoy, and that’s what makes this double-sided project so successful in my mind. I’m sure it’ll still be polarizing because all of Drake’s albums are, but I have to say, I walked away from this thing really satisfied.

Good stuff, 6 God.

Favorite tracks: Survival, Nonstop, Emotionless, God’s Plan, 8 Out Of 10, Mob Ties, Can’t Take A Joke, Is There More, Peak, Jaded, Nice for What, That’s How You Feel, Blue Tint, In My Feelings, Don’t Matter to Me, After Dark, March 14th

Least favorite tracks: I’m Upset, Talk Up, Summer Games, Finesse

Rating: Excellent

Teyana Taylor "K.T.S.E." Album Review

As I mentioned in my last review, because of my small break from music reviews, I have some catch-up to play right now, so it’s now time for a review of the new Teyana Taylor album “K.T.S.E.”

“K.T.S.E.” (short for “Keep That Same Energy”) is the second studio album from Harlem singer, actress, dancer, and model Teyana Taylor, who first broke out in 2010 when she joined up with Kanye West and provided some vocals for his album “My Beautiful Dark Twisted Fantasy,” and later ended up signing to Kanye’s GOOD Music label in 2012. She made her GOOD Music debut in 2012 on their compilation album “Cruel Summer,” but really hit it big in 2014 with the release of her debut album “VII,” a record that received very positive reviews, featured big artists like Chris Brown, Pusha T, Fabolous, and Yo Gotti, and essentially made her an R&B artist to watch for.

Now, admittedly, I know very little about Teyana as an artist, as I haven’t previously delved into her first album. In fact, I can’t lie, the whole reason I was drawn to this album is that it’s the final album in the Kanye West-produced “Wyoming Sessions” chronology. This chronology has been a hot one this Summer, with Pusha T’s “DAYTONA,” Kanye’s own “ye,” Kanye and Kid Cudi’s self-titled album as part of their new supergroup “KIDS SEE GHOSTS,” and Nas’s latest album “NASIR” all getting positive reviews, and this record right here is supposed to be the finisher to said chronology (oddly enough, while each previous record had 7 songs, this one has 8. Just thought that was worth mentioning). So, given that this is the finisher, let’s take a look and see if it’s a strong ending to the Wyoming Sessions.

No Manners: A very short intro song where Teyana talks about her love for her husband, as well as her desire to not become a “typical housewife,” I love the very moody, emotional keys on this cut, and I think Teyana’s flow on the hook is pretty solid. I think this song adds some nice substance to the album, but I feel like it’s just a little bit too short to leave a huge impression on me after one listen, and I think the short length of the song is partially why I don’t have much to say about it. All that said, it’s definitely got a great, eerie, moody vibe to it despite that short length.

Gotta Love Me: This one sees Teyana talking about getting through struggles with someone and still finding love with them. Man, with The Carters’ album and now this, love seems to be a prevailing theme in my recent reviews. Either way, this one has a very pretty guitar melody, a snappy click-clacking drum beat, and some very beautiful, smooth vocals from Teyana. As has been the case throughout most of the “Wyoming Sessions,” this one samples “I Gave To You” by The Delfonics, and Kanye does a great job with his sample-hunting here. I really enjoyed this track a lot!

Issues/Hold On: Here, Teyana urges her lover to hold on to her and to remind her of how much he loves her. It’s a somewhat slower, more swingy song with a pair of samples (“By Your Side” by Sade, and “I Do Love You” by Billy Stewart), but it’s got some really slick sonic elements, a really great bassline, and another really fun, click-clacking drum beat. And once again, Teyana shows some great vocal potential, as she sounds smooth and gorgeous here, and even though the chorus is very short, it’s really sticky and it reminds us that simplicity works well with a hook. Really strong, old-school vibe on this one, it’s definitely gonna break my replay button in the future.

Hurry (ft. Kanye West): A much more sexual song with the only credited feature on the record (a couple of the other songs have additional vocals, but no credited features), this one has a very plucky, head-noddy bassline, and Teyana’s vocals are soulful and interesting (she moans to end a verse, adding to the sexual feel of the song) and she even has some clever lyrics here (shoutout to the Jimmy Neutron reference, that’s one of my favorite cartoons). It’s another song with an old-school vibe, and Kanye also comes through with some really clever bars on his short verse here. I don’t think the hook is as sticky on this one, but nonetheless, it’s definitely an enjoyable cut.

3Way: Teyana explores her sexuality a bit here, as she talks about her willingness to engage in three-way sexual intercourse with her husband and another woman. It’s a somewhat more minimal song, with some very light synths in the background as Teyana’s vocals are front and center on this one. Fortunately, she shows us that she has the vocal fortitude to carry a song like this, with some gorgeous, very smooth runs throughout the song. And though he’s not a “featured artist,” the song has some vocals from Ty Dolla $ign (a very frequent feature on the “Wyoming Sessions”) and, as you’d expect, his vocals sound gorgeous as well. It’s pretty much the kind of track where, whether or not it succeeds comes down entirely to how well the vocalists sound on it, and fortunately, Teyana and Ty sound amazing on it, thus making this one of the better cuts on the album!

Rose In Harlem: Here, we see Teyana go a bit more introspective, as she talks about her upbringing in Harlem and the struggles that she faced trying to get out. This one takes things much more fast-paced than the last track, and Teyana sing-raps through the song over another click-clack drum beat and a sample of The Stylistics’ “Because I Love You Girl.” Her sing-rapping gives me some pretty solid Rihanna vibes, and her more emotional vocals on the hook throw me back to a lot of the R&B songs that I grew up with in the early 2000s. Once again, her vocals are somewhat front and center, but the instrumentals here are very luscious and soulful as well, and they mesh well with Teyana’s singing to make this a really strong track!

Never Would Have Made It: Something of a continuation of the last song, Teyana talks here about the people that helped teach her and allow her to think independently. The song has a very fast-paced, somewhat electronic drum beat, as Teyana showcases some very powerful vocals that carry very real emotional weight to them! The light piano melody is very gorgeous, and while producing a song with birds chirping might seem very unconventional, Kanye just has that way about him where he can produce a song with some unconventional sound and make it work, and no matter what anyone says about him as a person/singer/rapper, his top-class production is something you can’t take away from him. Really enjoyed this cut a lot!

WTP: “WTP,” for those unaware, does stand for “work that pussy.” This short outro to the album (or, at least the original version of it, because apparently, Teyana is planning to add new songs to the record) sees Teyana and Mykki Blanco explore sexuality and create something of an anthem. It’s a very loud, bouncy song built around a sample of Ellis D’s “Work This Pussy.” I like the very danceable, energetic instrumentals on this one, though I do wish Teyana had a slightly bigger presence on the track. Even still, she does sound great on it when she does appear, Mykki Blanco’s spoken interludes are definitely charismatic, and the song as a whole is too infectious and fun to pass on. Really dig this one, a very good end to the album.

Overall, if this is how Kanye’s ending off the “Wyoming Sessions” chronology, he definitely picked the right note to end on. Teyana Taylor’s latest album, at 8 tracks and 22 minutes, not only sees our lead singer in top form with gorgeous, emotional vocals and strong lyricism but also sees our producer (Kanye) in his usual form with strong sample-hunting and luscious production. It’s an album that moves in several different directions stylistically, with some more chilled, laid-back cuts along with some upbeat bangers, but at its core, it’s a very strong work from an artist (or two, if we’re talking about Teyana’s vocals and Kanye’s production) who clearly has a lot of respect and appreciation for old-school R&B and soul. I really think she is an artist worth watching for in the R&B scene, and I really hope that music fans, critics, and listeners give her a chance with this album because she’s putting out some really gorgeous stuff with this project. It’s a strong note to end off the “Wyoming Sessions” with, and I’d love to hear more out of Teyana in the future.


Oh, and I guess now that it’s “over,” I can give some thoughts about the “Wyoming Sessions” discography as a whole. Overall, I think Kanye and his team put out some really enjoyable projects with this series of albums. Sure, Pusha T’s “DAYTONA” may have been the first album to get my “Not For Me” rating, but I did think the album featured some solid bars and interesting production, and after giving it a repeat listen, I definitely did enjoy it a bit more (if enough people ask for it, I may write a “second opinion” on it at some point, we’ll see). Kanye’s own “ye” was a pleasant surprise with our artist taking a more focused, introspective approach, and “KIDS SEE GHOSTS” saw Kanye and Kid Cudi bringing out the best of each other in a collaboration that could’ve gone totally wrong. And then, Kanye chose to end off the series with not one, but TWO bangs thanks to Nas’s “NASIR” album, and of course this project right here from Teyana, so I think Kanye and GOOD Music did a pretty strong job with this chronology. Even with the media circuses and the daunting tasks of making strong albums under 30 minutes, I think Kanye and company will definitely look back at this discography and say, “man, that was a GOOD Summer.”

Favorite tracks: Gotta Love Me, Issues/Hold On, 3Way, Rose In Harlem, Never Would Have Made It, WTP

Least favorite tracks: Uhh…I thought they were all pretty good. Can I just not pick one? Okay, cool.

Rating: Excellent

The Carters "EVERYTHING IS LOVE" Album Review

I didn’t think I’d actually be able to take a look at this album, to be honest, but hey, life works in funny ways sometimes. I know I’m a bit late to the party, but it’s time for a review of the new joint album from The Carters (Jay-Z and Beyoncé) “EVERYTHING IS LOVE.”

The Carters need no introduction: chances are if you’re familiar with music at all, you’ve heard of Jay-Z (one of the most iconic rappers of all time) and Beyoncé (one of the most iconic pop stars of all time) and you’re probably aware that they are one of the most high-profile married couples in the music industry. Fresh off of some of their biggest, most acclaimed albums yet (in Beyoncé’s case, 2016’s “Lemonade,” and in Jay-Z’s case, last year’s “4:44”), they are finally here with their first album together. This thing has been teased at since last year, and the duo gave the album a surprise release roughly a week and a half ago.

Now, originally, I didn’t think I was actually going to be reviewing this album: as many of you know, Jay-Z and Beyoncé had their exclusivity deal with Tidal, a streaming service that I do not subscribe to (which is why I had to go through some hoops to listen to Beyoncé’s “Lemonade” when I reviewed it, and why I didn’t end up reviewing Jay-Z’s “4:44” when it came out last year), and I was under the impression I wouldn’t get to listen to this because I’m not subscribed to the service. However, two days after the album’s surprise release, there was an even bigger surprise, as The Carters released the album on Apple Music and Spotify (the latter of which is my preferred service), something I only just found out about. Thus, as I now can actually listen to the album, I can review it! I don’t expect to add much to the conversation since I’m so late to the party, but hopefully, I end up enjoying this as much as others seem to. Let’s see, let’s see:

SUMMER: A very laid-back song, this one is definitely called “SUMMER” for a reason, as it’s got a sexy, summertime vibe to it. As always, Beyoncé’s vocals on the hook are angelic, and they mesh well with the very gorgeous instrumentals and chilled beat. Beyoncé’s flow on her verse is also great, and I also love Jay-Z’s flow as well. He comes through with some really clever bars here, and his ad-libs are actually quite solid. Rory and Damian Marley begin and end the track, respectively, and even though they’re more in the backseat, they add an extra layer of enjoyment to the song with some nice, spoken-word vocals. Good start to the album.

APESHIT: An upbeat, braggadocious banger, Jay-Z and Beyoncé flex quite a bit on this one, and they surprisingly enlist the help of Quavo of Migos fame (Offset also shouts his name at one point, a remnant of the fact that this is a flipped version of a Migos demo). Once again, though, Takeoff is nowhere to be seen (I hope this doesn’t lead to a “do it look like I’m left off APESHIT” meme of some kind), but either way, this one’s got a really energetic beat and it’s just too damn fun to pass up! Beyonce’s hook on this is a lot of fun, and YES YES YES YES YES, her rap-flow is CRAZY good! She and Jay-Z rapid-fire on this one, and they ooze confidence as they flex their luxurious lifestyles with the help of some fun ad-libs from Quavo (and again, Offset randomly shouting his name). Wow, this song is just plain infectious! I love every second of it!

BOSS: The Carters take things just a little bit slower on this one, but they aren’t quite done flexing. Here, they talk a lot about just how effortless their success is (which we saw with the release of this very album, which got a surprise release and managed to see massive success immediately). Beyoncé’s more low-key hook continues to come through with confidence, and her sing-rapping is just as strong as you’d hope. The instrumentals are grand and beautiful, the trap drums are fun and infectious, and Jay-Z comes through with some very varied flows and great lyrics once again. If these first few songs prove anything to me, it’s that not only are Beyoncé and Jay-Z great by themselves, but they bring out the best of each other when together.

NICE: First off, I just want to say, Beyoncé’s lyric on this one that references the whole Spotify ordeal with “Lemonade” was damn ballsy, and while it reminds me that I couldn’t (and still can’t) listen to the album on Spotify, I respect her a lot for putting that lyric in there. Aside from that, this is another trap-flavored, braggadocious song that features Pharrell on the hook. I didn’t really love said hook at first, but it grew on me eventually, and I think Jay-Z’s flow and technicality are incredible as he reminds us of why he’s looked up to as one of the greatest rappers out there. Beyoncé’s sing-rapping is gorgeous, her lyrics beyond that Spotify lyric are hilarious, and Pharrell’s verse is a nice addition. Definitely enjoyed this one quite a bit!

713: Moving away from the braggadocio just a little bit, this one sees the couple sharing their love for each other with the rest of us, and it also sees the two of them paying respects to their upbringings (specifically, Beyoncé shouts out her hometown of Houston, a city that has the area code 713, hence the title of the track). I like the vocal interplay between the two of them on the hook, and the beat on this one is definitely head-noddy and fun. I do wish Beyoncé had a bit more of a presence on here outside of the hook, but her vocals are still strong, and Jay-Z’s flow remains just as solid as ever. Not one of my favorites on the record, but it’s a good track, and it’ll probably grow on me in time.

FRIENDS: A shout-out to the friends that helped Beyoncé and Jay-Z throughout their careers, I was very surprised to find that NAV was credited on the production on this one (apparently, the beat on this one was sampled from an unreleased song from NAV’s last album “Reckless,” the track of which is apparently called "Neptune.") Hearing the song, I definitely feel the NAV vibes on it, with the very dark, moody instrumentals and the somewhat standard trap drum beat. In this case, it works, and it helps that the song features a more emotional performance from Jay-Z and Beyoncé’s gorgeous, autotune-assisted vocals. Actually, I’m gonna say this: with Beyoncé’s vocals on this one kind of sounding like NAV’s (with more emotion, of course) and the track sampling an unreleased NAV song, I feel like Beyoncé and Jay-Z made a better NAV song than NAV did on his last album (or, probably on any of his records for that matter). I mean that in a good way, by the way, this is a really good song!

HEARD ABOUT US: Okay, after a few nicer, more shoutout-driven tracks, Bey and Jay go back to bragging on this one, making it clear that if you’re listening, you’ve heard of these two. It’s a track that starts off somewhat minimal, but it becomes more upbeat as it goes on. It mixes nicely between the two feels, and I love Beyoncé’s hook as well. She sounds angelic as always, the hook itself is very catchy and ear-wormy, and Jay-Z once again drops some very clever bars as well. It’s a track that’s both braggadocious and somewhat personal, and it’s definitely a really good one!

BLACK EFFECT: Moving away from the bragging once again, this one serves as something of an anthem, with Beyoncé and Jay-Z talking about the love that they have for their black skin. In a way, it also shows the duo talking about how they overcame the limits traditionally expected from black artists during the early parts of their career to become global superstars. It’s a very upbeat cut with a very energetic trap drum beat, and Jay-Z proves that, even without the vocals of his wife, he still has enough charisma and excitement as a performer to handle a hook. Beyoncé’s performance also drips in conviction, and she once again mixes singing and rapping wonderfully on her verse (also, her vocal interplay with her husband remains solid). Again, I do wish she had a little bit more of a presence here, but all in all, the song is definitely quite good and it might even grow on me with a few more listens.

LOVEHAPPY: Ending things off, we have a song that shows happiness between the couple: Beyoncé’s album “Lemonade” and Jay-Z’s “4:44” addressed Jay-Z’s infidelity, but this song shows how Jay humbled himself, Bey accepted his apology, and how through all of that, the two have come away from it all stronger than ever, with more love for each other than they’ve ever had. Lyrically, it’s a nice (though, maybe not entirely surprising) way to end things off, and it’s once again got a very lively drum beat and luscious instrumentals. I also think the vocal interplay is the strongest on this song, as the two trade off lines throughout their verses successfully. Beyoncé’s gorgeous vocals on the hook only make things even better. It does exactly what it sets out to do (establish the love that they have for each other and share that love with us), and it’s a great end to the record. There’s no way in the world they’re reading this, but if they were, I’d thank them for sharing that love with us on this track.

Overall, The Carters’ first album together is pretty much everything a Hov/Yoncé fan would want the record to be. It’s a banger-filled album where Jay and Bey go to town, flex on their haters, and revel in the success, but also take their time to be intimate and personal. Through the record, not only do they remind us why they have some of the best musical chops in the game and why they are some of the most beloved artists out there, but they show us that, through it all, their love for each other still exists even after all the drama and the craziness. It’s an album that shows us the more braggadocious side of two of the most popular artists in the world, but it also takes the time to be human, and show us the love and the family bond of one of the most prolific couples in the entertainment business. If this is what to expect out of future joint albums from The Carters…well, I could get used to it.

Favorite tracks: SUMMER, APESHIT, BOSS, NICE, FRIENDS, HEARD ABOUT US, LOVEHAPPY

Least favorite tracks: You know what, I’m not gonna list one. I didn’t really have one, they were all quite good.

Rating: Excellent

Mike Shinoda "Post Traumatic" Album Review

Alright, I've been hearing a lot of positive things about this album already, so it’s time for a review of the new Mike Shinoda album “Post Traumatic.”

Mike Shinoda is a multitalented singer, songwriter, rapper, and producer (among several other things), who you may know as one piece of the ever-so-popular rock band Linkin Park (or some of you may know him as the frontman of hip-hop project Fort Minor). Now, I’m sure I shouldn’t have to point out the elephant in the room, but Linkin Park has battled through a rough period lately, as frontman Chester Bennington committed suicide almost a year ago. It was a passing that really shook the music world, and I’m sure it’s been a turbulent time for the group, who has insisted that they plan to continue without him, an undertaking I can GUARANTEE will be massive. Mike, however, has definitely taken Chester’s passing to heart, as he released an EP early in the year under the same title as this album. Said EP contained three songs that Mike wrote about his feelings from Chester’s passing, all three of which ended up not only making it onto this record but leading off the album.

Now, while I didn’t review it when it first came out, I did give Mike’s EP a listen after its release back in January, and I remember even making a post on some of my socials recommending the EP. It was an EP that really did hit hard, and while I didn’t really return to it afterward, I do remember giving it a good listen and really feeling where Mike was coming from on it. Losing someone like Chester could not have been easy for him, especially to suicide, and I could tell he had put his heart and soul into that project. Naturally, all of that made me very interested in this new album. Even though I’m sure it’s not going to be the most comfortable album for me to talk about, I was really interested in seeing if the success of that EP carried over to this project. Let’s see if it does, shall we?

Place To Start: Kicking off the project, Mike talks about how difficult it’s been to really comprehend what happened and how things have been for him in the months since Chester’s passing. It’s a shorter song, and it kinda feels a little bit more like a freestyle, but it’s a song that has a mounting feel to it with some very minimal production. It’s a track that has very real emotion to it, from the moody instrumentals to Mike’s chilling, sad vocals, and the messages at the end from Mike’s loved ones who send their condolences to them. It’s a really heart-clenching song, and it’s a really great listen.

Over Again: On this one, Mike goes into very real, raw detail about everything that happened with the band a month after Chester’s death. He talks about how they decided to do a tribute show, how difficult it was for him to even think about getting back on stage for it, and how he realized that you don’t say goodbye once, you say it over and over again. The song itself is a bit heavier than the last one, but I actually really like Mike’s vocals, as his half-spoken, half-sung cadence feels a bit rawer to me, and I think his lyrics on this one are really powerful, as he talks about how the thought of performing a tribute concert for Chester made him want to puke up his guts, and how scary it is that Chester’s death causes his life’s work to hang in the balance now. I can’t lie, the song nearly got me to tears. It’s such a powerful track, and there are so many hard-hitting moments on it.

Watching As I Fall: Here, we see Mike talking about how hard Chester’s passing was for him and how tough it was to even show himself in public and how, even after all this time, it’s still really hard to live with the fact that he lost your best friend to suicide. The production on this one is the heaviest of the three songs from the EP, and I think Mike’s sing-rapping is really strong. The hook is also really memorable, as Mike sings on it about how the tough path that was Chester’s suicide will open up to a path that he has no choice but to follow. It’s another really great track, and I think it rounded out the original EP nicely.

Nothing Makes Sense Anymore: The first “new” song from the album (since, as I said, the last three were all featured on Mike’s last EP), this one digs into the confusion that Mike has felt since Chester’s passing, and he exemplifies that in the chorus when he talks about how his “left is right” and his “up is down,” thanks in no small part to the anxiety he faced in the wake of Chester’s death. The song once again features a very moody, somewhat minimal instrumental consisting of some smooth guitar strums, and Mike’s vocals are once again sad, but still smooth and gorgeous. It’s another very emotional song and one that I really love!

About You (feat. blackbear): I’ve gotta say, I can’t be the only one surprised that there’s a blackbear feature on this album, can I? I dunno, that just sounds so strange to me. Regardless, this song takes an interesting lyrical turn in comparison to the other songs, where Mike talks about how, at this point, regardless of whether he makes a song about Chester, there’s going to be a belief that it’s about him. A more rap-flavored track, I love his very confident flow and performance on the verse, and the filtered vocals on the hook are really great (it helps that the hook is ear-wormy on its own, the filters just make the hook even better). And, as weird as the blackbear feature was to me, his smooth crooning fits well against the eerie instrumentals on this one. Very good song!

Brooding - Instrumental: It should be obvious, but this is an instrumental song that, true to its title, is brooding. It starts off with some very sad, atmospheric instrumentals and guitar strums, before changing up a bit and becoming more sinister. Even as a song with no words, it speaks a lot about the feeling Mike had in the wake of Chester’s death, feelings that were very dark, sad, and all over the place. The song successfully conveys that, and it also succeeds at being a great listen.

Promises I Can’t Keep: A song that doesn’t really seem to overtly reference Chester’s passing (though his idea of “losing control” over something that “wasn’t left up to him” might be a reference to it), this is a song that starts off light, but it slowly becomes heavier as it goes on. The electronic beat on this one is head-noddy, and the keys are very emotional as well. I also find the hook to be very compelling, where Mike talks about his fear of the unknown and the promises he won’t be able to keep, even if he wants to keep them. It’s a really interesting, meaningful track!

Crossing A Line: Right from the beginning, the very light, pretty keys grabbed me, as they sound beautiful but broken. The song does change up a bit, and it’s got a somewhat bouncy beat, but it does retain the moody feel that we’ve seen throughout this album. Mike discusses a path of uncertainty on this one, and he talks about how much recent events are changing his career and how he’ll need to try new, different things as a result. I’m not 100% crazy about the hook here, but it’s definitely a pretty decent cut with some solid vocals from Mike and an interesting, somewhat different feel from a number of the other tracks on here.

Hold It Together: Right as I started reading the lyrics on this one, I felt myself relating to it. Lately, I’ve been feeling like my life has been moving at a much faster pace than I’m used to, and that’s something Mike talks about on this track, where he’s trying to hold himself together even though everything is crazy for him. The somewhat brighter, electronic production on this one is really great, and I really like Mike’s very smooth vocals as well. I also have to say that the second verse is particularly fascinating: Mike talks about how someone asked him how he was feeling about Chester at a six-year-old’s birthday party, leading him to make an awkward joke to defuse the situation. Yeah, that’d do a bit more than “fuck up my vibe.” It’s a song I really felt on a deeper level, even as one of the more upbeat cuts on the record, and I really loved it a lot!

Ghosts: Here, Mike takes on something of a more uplifting vibe as he talks about seeing ghosts and how we can acknowledge the presence of non-tangible beings that we may not actually see. I like the brighter feel of the song, the more vibrant production that’s accompanied by a fun 808-drum beat, and Mike’s smooth, nice vocals as well. I don’t think the hook is one of my personal favorites on the album, but I think there’s definitely a lot to like about the song, and it does have the potential to grow on me with a few listens.

Make It Up As I Go (feat. K.Flay): A more upbeat, hip-hop flavored song, Mike and featured artist K.Flay talk here about moving backward in life over a very bouncy drum beat and a really groovy bassline. Mike’s sing-rapping is smooth and his flow is really fun, and while I wasn’t initially crazy about K.Flay’s hook here, it definitely grew on me after a few listens. This song does have a somewhat more poppy feel to it, which could be a turn-off for people going into it thinking about and expecting “Linkin Park-style” music, but it’s definitely an infectious song that I got a lot of enjoyment out of.

Lift Off (feat. Chino Moreno and Machine Gun Kelly): A cut that’s much different than most of what’s on the record (again, seeing a Machine Gun Kelly feature on this one had me a bit confused), Mike and MGK sort of “go into space” to address haters and how they can’t handle the bars being spat. Mike’s confident performance is great, as it MGK’s (some of his lyrics are pretty funny as well), and I do like the very dark production on here, though I do think Chino Moreno’s hook is a bit too spacey for me. Still, it’s a good track with some really clever bars, and again, it might grow on me in the future.

I.O.U.: Mike brings some braggadocio on this track (one that was originally meant for a Fort Minor project, apparently), as he calls out the people that want to take things from him. He raps confidently over a very chilly piano instrumental that’s accompanied by a really great trap drum beat. His flow is varied throughout, and I also love the hook on this one. It’s once again a very different song from a lot of the rest of the album, as it feels like Mike snapping on his haters, but it’s further proof that he can handle a lot of different styles in his music, and I really dig it!

Running From My Shadow (feat. grandson): A song where Mike deals with a number of the dark memories from his career, he returns to the very introspective feel on this track, as he raps rapid-fire style about his past, which adds to the idea that Mike presents about all of the events being a “blur” to him. His vocals are also smooth on the verse, and I again love the rapid-fire flow (I honestly get some Logic vibes out of him on this one). grandson’s verse is also rather chilly, and it rounds out the song nicely!

World’s On Fire: A cut where Mike talks about needing someone to be with him when the world is on fire, this is another more bouncy electronic song, though it’s a little bit more downtempo than some of the previous songs on the record. Mike’s vocals are very pretty on this one (I’m not gonna lie, I actually hear Chester in his voice with this track), and while I’m not really crazy about the hook (or the rather booming drum beat), it’s a nice song to nod your head to, and I might just need to listen to it a few more times to let it grow on me a bit.

Can’t Hear You Now: Finishing things out, Mike writes this final song not just about Chester, but from his perspective, talking about how, as painful as it is that he’s gone, he’s in a much better place where he no longer has to feel pain. It’s a more encouraging end to the album lyrically, and I again feel like the filters on his vocals on the hook add to the song, feeling like it’s being told from Chester’s perspective. Mike’s flow on his verse is really strong, and I like the upbeat feel of the track, as it adds to the more positive feel of the lyrics. It’s a really great note to end things off on, and I can say it’s gonna get plenty of repeat listens out of me.

Overall, I definitely really dig what Mike’s got going here on this album. A record that largely revolves around a lot of the thoughts and anxieties that Mike has faced in the context of Chester’s suicide, I think he really comes through with some very emotional and hard-hitting tracks on this record. Beyond a lot of the very nice, moody, dark production on here, Mike proves to be a really strong lyricist as well, and his performances throughout the album are really captivating. His vocals are smooth, his rap flow is strong, and even though this is an emotional album, he does display some very real confidence on this project. As a whole, the album is a really great exploration into his headspace, and it’s an album filled with memorable listens that manage to hit hard, while also being head-noddy and exciting. I’m not sure where Mike will go from here as a solo artist, as he has said that he plans to continue with LP, but regardless of where he goes, I really hope Linkin Park fans give this album a shot because I really think he’s coming through with some really strong stuff here, lyrically and sonically.

Great job, Mike. I’m sure Chester would love this.

Favorite tracks: Place To Start, Over Again, Watching As I Fall, Nothing Makes Sense Anymore, About You, Brooding - Instrumental, Promises I Can’t Keep, Hold It Together, Make It Up As I Go, I.O.U., Running From My Shadow

Least favorite tracks: Crossing A Line (only if I REALLY had to pick one)

Rating: Excellent

Christina Aguilera "Liberation" Album Review

Alright, time for the second of the three reviews I hinted at. This time, it’s the new Christina Aguilera album “Liberation.”

The Pop Princess herself, Christina Aguilera is back with her eighth studio album and her first since 2012’s “Lotus.” At this point, I don’t think she really needs a huge introduction, she’s been around making albums since 1999, and she’s put out several hit singles such as “Genie in a Bottle,” “What a Girl Wants,” “Come On Over Baby (All I Want Is You),” “Lady Marmalade” (all four of which hit #1 on the Billboard Hot 100), “Beautiful,” “Ain’t No Other Man,” “Keeps Gettin’ Better,” “Say Something,” and many, many, many more. And that’s not even to speak on some of the big features that she’s gotten since breaking out, specifically on Maroon 5’s “Moves Like Jagger,” and Pitbull’s “Feel This Moment,” both of which hit the Top 5 on the Hot 100, and the former of which peaked at #1.

Now, when approaching this album, I honestly didn’t really know what to expect because, yes, Christina is a very well-known pop star, and she has been doing this since I was in diapers, but at the same time, I haven’t really been a huge fan of a lot of her material over the years. Every once in a while, I would enjoy one of her tracks, but for the most part, I’ve found that she’s merely an artist I can respect and appreciate from afar, without really caring to go deep into her discography. Sometimes, though, those are the records I can get very excited about because not knowing what to expect can be exciting! The fact that she also stuffed this album with features like Demi Lovato, 2 Chainz, and Ty Dolla $ign (figure those last two out) only got me more excited to give it a listen. So, let’s see how it is, yes?

Liberation: So…the title track for this album is less than two minutes? Strange. Either way, this very short track is largely instrumental (there’s a few spoken-word bits here and there), and it’s got a very emotional, piano-driven instrumental. It’s fine, and it’s nice enough on the ears, but I don’t really find it compelling enough to warrant more than one listen. It’s decent enough, nothing more and nothing less.

Searching for Maria: And, right after the ~2-minute intro track, we have a 25-second interlude? I’ve got a bad feeling about this, everyone. In any case, it’s a pretty creepy-sounding track, as it has no instrumentals, and it just features Christina singing, with her vocals sounding somewhat broken and sad. It’s an interesting track, but again nothing I’ll want to listen to over and over…well, unless I feel like creeping someone out, maybe.

Maria: Okay, so there’s actual music on this album. Good. This one is actually really strange, as it has a really sinister-sounding instrumental, and it also features an odd sample of Michael Jackson’s “Maria (You Were The Only One).” The song serves as something of a search for Christina’s lost side of herself, and I do love her very powerful vocals on this one, but without a really enticing hook, I think this is a song that largely tries to sell itself with Christina’s vocal charm, and unfortunately, it doesn’t really have much to offer outside of that for me.

Sick of Sittin’: Lyrically, I think this song has a great theme to it, as Christina talks about how she’s “sick of sitting around” and not wanting to play into the “money-making machine” that exists in the music world, and she talks of her desire to make something that’s more authentic and real. That said, while the song has a really great idea going on lyrically, I don’t find the downtempo production on this one all that compelling, and I think that it sounds like I’m listening to something off of Kelly Clarkson’s “Meaning of Life,” just with less-enthusiastic production and a far worse hook. Yeah, this is a track I’m not particularly digging, and it’s an example of “great ideas gone wrong,” unfortunately.

Dreamers: Another ~1-minute track? Really? This is weirding me out a bit, but at least the lyrical theme here is cool. As a lead-in to the next track, this one features spoken-word lyrics from the perspective of a group of young girls, talking about what they want to be when they grow up, playing to the idea of female empowerment. It’s got a great idea, and it is kinda nice to hear it coming from a group of very young girls, even if it does kinda feel like a little bit like I’m watching a commercial. Not bad, though.

Fall In Line (ft. Demi Lovato): This song continues the theme of female empowerment presented in the “Dreamers” track, and it’s a cut I was very excited to listen to because hearing that Christina would be collaborating with Demi Lovato, an artist that I love, got me pretty excited. Does it deliver? Well, yeah! I definitely do like the slow, very swingy production on this one, and I think the hook is one of the better ones on the record so far. I also think Christina and Demi really bring out the best of each other vocally, and I really dig the song a lot.

Right Moves (ft. Keida and Shenseea): Christina has talked a bit about how this song is one that discusses how it feels to really feel comfortable and enjoy yourself. It’s a somewhat more sensual song that feels somewhat tropical, and I can appreciate that out of the instrumental, but I think that feel is a bit too overpowered by the 808-drum beat on this one, and while I again think Christina’s vocals are great, the hook is one of the more bland ones on the album. Sheenseea and Keida mostly rap/sing in Jamaican slang here, and I honestly find them a bit more interesting than Christina herself. And even then, honestly, I kinda feel like they’re both trying to do a Rihanna impression. Not one of the album’s worst, but it’s definitely duller than it should be.

Like I Do (ft. Goldlink): A song that’s got a little more R&B-influence to it, I definitely think there’s something of a goofy, kinda silly feel to the song, with Christina and featured artist Goldlink getting somewhat flirtatious over the very groovy drum beat and flute-driven production. GoldLink’s verse is relatively fun, and Christina does have some fun flow to her performance, even though I think the hook might need to grow on me a bit. Definitely a pretty solid, fun song, and I can applaud it for not taking itself too seriously.

Deserve: Christina talks about how she acts around someone she loves, as she discusses how she doesn’t really think she deserves this lover. It’s a more downtempo song, especially in comparison to the last track, but it’s got some interesting electronic production, and I do like the somewhat more jazzy 808-drum beat. While I don’t think it’s the best song on the album from a lyrical perspective, I do think it’s got a pretty fun hook and more gorgeous vocals from Christina. Not one of the bests on the album, but it’s not bad.

Twice: Christina brings things down a few emotional notches on this track, bringing us a ballad about lost love and how she would re-experience those times of lost love in an instant, even despite the nasty consequences that came with them. Thematically, I actually like that idea, because I personally feel that way about some of my own experiences, but while I like the powerful, very emotional piano melody on this song, I do think some of the electronic production on the intro is just a bit out-of-place. I also think Christina’s vocals are strong as always, but for some reason, I just get this feeling that the song is missing something. I’m not sure what it is, but I feel like it should hit just a little harder emotionally. Still a solid song, though.

I Don’t Need It Anymore (Interlude): Okay, this is the final interlude. So there weren’t as many of those as I thought. Good. Anyway, this interlude is devoid of any real instrumentation, as it features a group of girls singing about how they don’t need…something, anymore. It’s got some great vocals, and the runs on it are really great, but again, there’s really not a whole lot of substance to it. It could’ve been tacked on to another song.

Accelerate (ft. Ty Dolla $ign and 2 Chainz): Now this was a song I was initially confused by. Christina Aguilera being joined by 2 Chainz and Ty Dolla $ign? I know those two artists are no strangers to grabbing big features, but I was at the very least a bit surprised they would be working with Christina Aguilera, to be honest (though I guess given some of the production of the album, I shouldn't be TOO surprised). And, honestly, as I hear the song, it continues to sound weird. Sure, Christina’s vocals are solid, and her flow is solid too, but I don’t know, I feel like the production isn’t as strong. The percussion is neat, but the rest of the instrumental is a bit too minimal and not really all that enticing. Ty’s vocals are more raspy and unexciting as usual, and I don’t think this is one of 2 Chainz’ best guest verses. It’s a shame because I thought this would be one of my personal favorites, but I think I walked away from it more confused than anything.

Pipe (ft. XNDA): Sometimes, I get excited when a certain artist talks about their love for one of their songs, and Christina mentioned before this album’s release that she loves vibing to this one. Judging by the kind of moody, ethereal production and smooth, slick percussion on the intro, I definitely get why. It’s got a really fun groove to it, and I agree with Christina when she says that she was able to experiment with her vocals and her flow. I definitely hear that experimentation on this one, and I love her vocals all the more as a result. XNDA’s vocals and really enjoyable verse only help to further round out this very great track!

Masochist: A much darker song, Christina brings up the idea of not being able to get rid of something because you love it too much. Something I’m sure we’ve all been through, yes? And beyond the darker lyrical themes, the more minimal production is equally moody and atmospheric, and it helps give the song a very emotional feel. It’s a much slower track, but it’s also one that allows Christina to really show off her vocal range. And fortunately, the production is interesting enough that this isn’t a song that sells solely on her vocals. There’s a lot of great things going on here, and I definitely think it’s one of the stronger cuts on the record.

Unless It’s With You: We end off the album with a song where Christina talks about the constant anxiety and fear that comes from love, stating her desire to be alone before claiming that she will marry if she finds the right person to sync with. As someone that’s abstained from relationships for many of the same reasons, I can feel exactly where she’s coming from, and I think that lyrically, she actually nicely captures the chaos that a lot of people feel when it comes to relationships, where one thought leads to the next without any rhyme, reason, or order. It’s a much lighter track with some very pretty keys, and again, it’s a song that sees Christina really showcasing her vocal power and runs very well. It’s a very gorgeous track that ends off the album very nicely.

Honestly, though, I’m not really 100% sure of what to make of this album. I can’t really give it a “Not For Me” rating, that’s for sure, because that’s a rating that only comes out if I legitimately don’t have any “favorites” or “least favorites,” but I don’t know, this album definitely didn’t excite me much. I definitely didn’t dislike it, but I didn’t particularly like it too much. Christina Aguilera still proves that she has great vocals throughout this record, but I personally don’t think the production gives her a whole lot to work with. Some of the songs just start to feel a bit too same-y, and there were often points where I kinda questioned if Christina did a lot of listening to Kelly Clarkson’s “Meaning of Life” before going into this album, because if you take that album and give it more 808s and a smaller hip-hop influence (and make some of the hooks much worse), low and behold you have this album. And while there are a number of highlights on the record (especially at the end, where things take a small heel-turn and become more interesting), the highlights are a bit too few and far between, and the album doesn’t kick into the gear enough until it reaches that final little bit.

Overall, I guess my best recommendation is that it should be good for some of Christina’s more hardcore fans, so long as the sonic change in direction to the album doesn’t become a huge turn-off for you. There are things to enjoy in the album, but unfortunately, it’s a record that really doesn’t become “great” until it’s at the final fifth, and it’s also bloated with a noticeable hunk of filler. In fact, the first third of the album really made me worry that it was gonna be all doom-and-gloom from that point on, and the slower middle-stretch didn’t help out much. Features are also hit-or-miss on here, with some that are great (like Demi Lovato and XNDA), and some that are more confusing than entertaining (like Ty Dolla $ign and 2 Chainz). Still, I’m glad I was able to take away a few solid tracks from this album and throw them onto my Spotify playlist. I just wish the album was a bit more consistent in its goal. As it is now…it’s decent. Nothing special, nothing terrible, just alright.

Favorite tracks: Fall In Line, Like I Do, Pipe, Masochist, Unless It’s With You

Least favorite tracks: Sick of Sittin’, Accelerate

Rating: Okay

Nas "NASIR" Album Review

Alright, guys, I’ve got 3 new album reviews coming at you this week, because there were quite a few that dropped (unfortunately, I won’t be looking at the Beyoncé/Jay-Z project because it’s exclusive to Tidal and I’m not a Tidal subscriber. Sorry about that). Let’s start with the new Nas album “NASIR.”

Nas is a Brooklyn rapper who has been around since the early 1990s when he broke out with his album “Illmatic.” Since then, he has released numerous projects and has been hailed as one of the greatest rappers and lyricists of all-time. This is his 11th studio album, his first since 2012’s “Life Is Good,” and the fourth in a series of albums produced by Kanye West known as the “Wyoming Sessions” chronology. This chronology started with Pusha T’s “DAYTONA,” moved forward with his own album “ye” and the KIDS SEE GHOSTS debut record, continued with this project here and will conclude next week with Teyana Taylor’s “KTSE.” Interestingly, this album has actually been teased at for a long time, all the way back to DJ Khaled’s 2016 album “Major Key,” which had a track called “Nas Album Done,” where he said the album was completed, and in the same year, Kanye apparently promised Barack Obama that he would produce the album.

Now, I’m not gonna lie here, I’m not super familiar with Nas as an artist. Obviously, he’s one of the most legendary and well-loved MCs ever, and off of that alone, I have respect for him, because you have to respect an artist that really makes it big and becomes one of the best ever, but I just unfortunately haven’t listened to a lot of his music. I’m not gonna make a ton of excuses for it, but I wasn’t initially raised on hip-hop music, I only just got into it pretty recently, so I wasn’t all that familiar with a lot of the legendary artists that helped shape the culture. That’s not to say I don’t like their music, I just haven’t had the opportunity to sit down and really listen to it that much. I’m hoping that lack of experience won’t impede my enjoyment of this project, though much like a lot of the other “Wyoming Sessions” albums, the shorter length might be cause for concern. Let’s see, though, if Nas pulls through!

Not For Radio (ft. Diddy and 070 Shake): Nas lets you know right from the jump that this track (and, perhaps the entire record) is not for radio (though at this point, I don’t think much of the “Wyoming Sessions” discography is really “for radio”), and he comes right out of the gate making a heavy political statement, one that’s actually very personal in that it deals with his own industry-related issues involving racism and finance. And I really dig the very grand, beautiful production on this one, it’s very heavenly and gorgeous, and I think Nas’s performance oozes confidence and energy. 070 Shake’s chorus is short but sweet and to the point, and I think Diddy’s ad-libs are actually more potent than the typical “rap ad-libs” in rap music today. Good stuff, a nice starter to the album.

Cops Shot The Kid (ft. Kanye West): A song that discusses the paranoia associated with police brutality and black-on-black violence occurring in the summertime, this one actually features several prominent samples, the first of which comes from legendary comedian Richard Pryor’s “Cops/The Line-Up” skit, and the other coming from the Slick Rick song “Children’s Story.” Said Slick Rick sample is actually very potent and, honestly, hearing “the cops shot the kid” on repeat throughout the whole song can be a bit annoying, I like Nas’s flow on this one, and the beat is really head-nodding and fun. Kanye’s verse is also very strong, and he once again establishes that his flow and energy are still here. Again, the only thing holding the song back for me is the repetitiveness of that “the cops shot the kid, the cops shot the kid, the cops shot the” thing. It’s definitely not a bad track, though.

White Label: Going by some of the lyrics on this track, Nas seems to take something of a braggadocious feel, but one that’s not entirely sure of itself, as he raps “laying on the most expensive beds, still I’m losin’ sleep” and he mentions how he could demand a million dollars upfront to provide a guest verse on a song, but that he won’t demand compensation for it, and instead that he’s motivated by his love for the culture. This one has some very vibrant, upbeat, and booming production (helped by a prominent sample of "Prison Song" by Iranian singer Shahram Shabpareh), and I think Nas’s flow and lyricism are some of his best on the record. And I also think the repetitive use of “I’m gonna” in the sample is not nearly as grating as it was on the last track, and the song as a whole is all the better for it.

Bonjour (ft. Tony Williams): I didn’t mention this earlier, but Nas has a really interesting lyrical theme going on with this album, where each of the songs is based on one of the Seven Deadly Sins. This one discusses the idea of lust, with Nas going into detail about his strong sexual attraction to women, and how to get past their restraint so that he may fulfill his desires. This more downtempo track has a really beautifully-sung hook by Tony Williams, and I think Nas has some of his most clever bars on the record on this one. I also think the switches between English and French are fascinating, and the really dark production on this one is fantastic. Really dig this song!

everything (ft. The-Dream and Kanye West): Continuing with the theme of basing each song off of the Seven Deadly Sins, Nas talks about greed here, basically discussing how he, along with featured artists The-Dream and Kanye West, could change anything in the world if they had everything they ever wanted. Interesting idea, and I think that The-Dream and Kanye make for great features, but I’m not gonna lie, seeing that the song is 7 and a half minutes long made my stomach drop a bit. Most of the tracks on these “Wyoming Sessions” albums have not been this long, so I did worry that this one would be weaker than most of the others. Luckily, though, I like Kanye and The-Dream’s more emotional, very pretty vocals on this one, and the very minimal production early on is quite beautiful. Nas takes a bit to come in, but his flow is fantastic and I can tell he put his heart into his performance on this one! Even at 7 and a half minutes, this is definitely one of the better tracks of the album!

Adam and Eve (ft. The-Dream): Interestingly, this track actually sees Nas talking about what he does daily, and he ties this into how the current generation essentially follows the pattern of what their parents do, without really trying to change their living condition in comparison to what their parents’ generation tried to do. I really love the production on this one, the keys are oddly fun, and they mesh surprisingly well with the fast-paced drum beat. Nas also has really great, rapid-fire flow on here and he once again drops a lot of really clever bars on this one. I think The-Dream’s vocals are very nice on the hook, and he helps to round out a really great track!

Simple Things: Rounding things out, we have a track about jealousy, as Nas talks about how criticism of his personal life is disguised as others being envious of him, concluding that he simply wants peace and happiness for himself and for his children, and how he just wants to appreciate the simple things in life. The production is also very heavenly, and I also love Nas’s bars about how he’s a lyrical rapper that’s not all about the production on his songs, and how he doesn’t really want to sound like everything on the Top 40. It’s odd, though because I actually find the production on this album really strong (though that’s probably because Kanye handled it), but I do like how he addresses his critics here, and I think that by ending with the bar about wanting happiness for his kids that he rounds out the album wonderfully.

Overall, I can see why many hold Nas up as one of the greatest lyricists, because hot damn, an album with lyrical themes tied to the Seven Deadly Sins is something pretty cool that I haven’t gotten to recently explore on any album that I’ve reviewed. And beyond that, I think that the production on this album is top-notch and that, beyond being a great lyricist, Nas really comes through as a very interesting performer here. He’s got plenty of energy, really interesting flows that remain fascinating throughout the record, and an ear for some really great features. And, while I criticized the recent “Wyoming Sessions” albums for being too short and needing a little more meat to them, I actually found the length of this album to not be a bad thing, because I think that, outside of maybe “Cops Shot The Kid” (which might even grow on me with a few listens), the album was very consistent, and I found that the seven tracks were very fulfilling.

Now, in regards to what longtime Nas fans will think of the album…I have no idea. Again, this was my first experience listening to Nas, and I can say that I was very satisfied with it, but I’m not 100% sure what longtime fans of his will think of this record. I can hope they’ll support it and give it some good listens, because I do think he’s really coming through with some really great songs here, but I can’t speak for them because I’m a first-time listener. Even so, I can say that, from the experience of a first-timer, I already have a good idea of why Nas is such a critically-acclaimed rapper, and I definitely think this is another strong release from the “Wyoming Sessions” discography. Hopefully, Teyana Taylor’s album can round things out nicely next week.

Favorite tracks: Not For Radio, White Label, Bonjour, everything, Adam and Eve, Simple Things

Least favorite tracks: Cops Shot The Kid (if I really had to pick one)

Rating: Excellent

Ne-Yo "GOOD MAN" Album Review (110th Review)

Here’s one I’ve been looking forward to for a while: it’s time for a review of the new Ne-Yo album “GOOD MAN.”

Ne-Yo should need no introduction: he’s a famed R&B singer that’s been around since the mid-2000s, and this is his seventh studio album, and first since 2015’s “Non-Fiction.” While that album didn’t receive the best reviews out of his discography, it did include the big Billboard Hot 100 Top 10 single “Time of Our Lives,” and it did nothing to damage the legacy of the iconic R&B star, who dropped memorable albums like “In My Own Words,” “Because of You,” “Year of the Gentleman,” “Libra Scale,” and “R.E.D.,” and has released very popular songs like “So Sick,” “When You’re Mad,” “Sexy Love,” “Because of You,” “Closer,” “Miss Independent,” “Mad,” “Let Me Love You (Until You Learn to Love Yourself),” and many, many, many more. And that’s not to mention the many prominent features he’s seen on songs like Rihanna’s “Hate That I Love You,” Keri Hilson’s “Knock You Down,” Calvin Harris’s “Let’s Go,” and, of course, Pitbull’s “Give Me Everything.” In case that laundry list of singles didn’t tell you this already, Ne-Yo carved out quite a reputation for himself in the 2000s and the early 2010s.

Now, personally, I grew up on the man’s music. Ne-Yo was a big deal in the mid-to-late 2000s when I was in elementary/early middle school. It felt like Ne-Yo was always part of a hit song, and he was an artist that I definitely loved. Songs like the aforementioned “So Sick,” “Closer,” “Mad,” “Hate That I Love You” and “Give Me Everything” were everywhere at that time, and I used to bump them. Hell, “Give Me Everything” came out at a time where I didn’t really care to listen to what was charting, and I still quite enjoyed that song. I did end up moving away from Ne-Yo for a bit in my early high school years, but in 2015, I suddenly regained interest in his music and I would regularly listen to it once again. Not only did I rediscover those songs that I loved as a kid, but I found out about a number of his other songs that I would end up loving, like “Miss Right,” “Single,” and “Jealous.” So, being that Ne-Yo is an artist that I love, I was very excited going into this record. However, I was somewhat disappointed to learn that “Another Love Song,” a single he dropped last year that I loved and found to be very infectious and exciting, would not be on the album. I love that song and I feel like it deserved a bigger push than it got. Even so, let’s see if Ne-Yo can come through on this latest record, shall we?

“Caterpillars 1st” (Intro): So, Ne-Yo seems to start the album with the theme of growth and evolution. Caterpillar, cocoon, struggle, and then becoming, in his words, a “fly-ass butterfly.” And he also wants to “lead by example” with this album by talking about being a “good man” in this current era of sexual misconduct accusations. And I totally appreciate that, but when the vocalist on this one tells the “ugly girls” to get out of the way, I start to wonder if, in his mind, being a “good man” comes with a caveat of only being a “good man” to the “dimes.” Either way, I think that for those reasons, this intro track doesn’t do a good enough job of framing the album’s theme, and it leaves me more confused than anything.

1 MORE SHOT: On this song, Ne-Yo takes on something of a laid-back, tropical feel to start things off, and I was really digging it at first, but I feel like the song loses just a little something when it gets to the hook. Maybe it’s the 808-driven beat or the sudden busyness of it, but the hook does admittedly feel a bit clunky to me. Still, I do think that Ne-Yo retains his typical vocal charm on this one, and I think he does the best that he can with some hiccups in production and a lackluster hook. I dunno, though, maybe I need to listen to it a few more times and let it grow on me.

LA NIGHTS: I’ve heard some people say that Ne-Yo’s intent with this album was to recapture his old sound? Well, given the 808s on here and Ne-Yo’s pseudo-rapping on his verse, I do feel like he’s trying to play catch-up with modern-day music trends on this one. I do like some of the production, though (like the very smooth, beautiful keys), and I think Ne-Yo’s vocals remain very smooth and beautiful as always, but I’m not sure if I dig that pseudo-rapping I was talking about earlier. The whole start-stop flow he has just isn’t all that fun to me. Again, though, maybe it’ll need a few more listens to grow on me.

NIGHTS LIKE THESE (ft. Romeo Santos): This song once again takes on a bit more of a laid-back feel, with a slower tempo and a guitar-driven instrumental melody. Ne-Yo’s vocals are strong as always, even when he jumps up into his falsetto, and I think the hook on this one is quite fun. Featured artist Romeo Santos provides some smooth Spanish vocals on this one, though part of me feels like Romeo Santos was actually Ne-Yo’s Spanish alter-ego since their vocals sound so alike. Still, they both come through on this one, and the production around them provides a good support structure. Yeah, I dig it! Does actually feel a bit like older R&B, in fact.

U DESERVE: Taking things up a notch, this one’s got a danceable drum beat, but it’s also got a nice sensual vibe to it. It’s a song that feels like a nice compromise between Ne-Yo’s old sound and Ne-Yo’s attempt at playing catch-up. It feels like he’s got a grasp on what today's "radio music" sounds like, even though he’s been gone for several years. I do wish there was just a little bit more beef to the hook here, but at the very least, it does sound nice and it’s very catchy, so I’ll take it!

SUMMERTIME: Another more busy song, this one’s got a few weird things going on sonically. It’s got a very booming drum beat, but there are also some very pretty, dreamy synths behind the overpowering drums. Ne-Yo sounds wonderful as always, and I think his vocal flow throughout this one is pretty strong as well. I wasn’t crazy about the hook at first, but I actually think it’s quite sticky and fun. I do wish the song was a bit longer, though; right as I was really getting into it, it was over. I feel like it just kinda shrugged and ended, and I wished it had a bigger ending to it. Still, it’s definitely a nice song, even despite its short length.

PUSH BACK (ft. Bebe Rexha and Stefflon Don): Ne-Yo apparently still knows how to get stars on his tracks: here, he recruits the continuously-rising pop star Bebe Rexha (who is releasing an album next week that I plan to review), along with one of this year’s recently announced XXL Freshmen Stefflon Don, who you may remember appeared on the Deluxe Edition of Demi Lovato’s “Tell Me You Love Me” on the track “Instruction” with Jax Jones. That’s a pretty big combination right there, seeing two rising stars working with one of the biggest R&B singers of the 2000s, and overall, I think the song delivers on that level of promise. It’s a dancehall track that has a really neat, electronic beat and overall sticky production, Ne-Yo continues to bring effortless vocal charm, and I think the hook here is one of the most captivating choruses of the album. Bebe Rexha also brings some very gorgeous vocals to the song, and Stefflon Don’s patois-driven rapping is extremely fun. It’s a really different direction for Ne-Yo to try dancehall, but he and his fellow artists really stick the landing here and put together a really rock-solid single. I hope this one actually gets some more push on the charts, it’s pretty damn good!

BREATHE: Changing things up quite a bit, we have a much slower-tempo track that sees Ne-Yo taking on a more raunchy feel, as he continuously reminds the girl on this track to breathe during their sex so that she doesn’t pass out. Reading the lyrics definitely made me feel dirty, but hey, at least he’s still being a “good man” by reminding her to breathe and looking out for her safety. In any case, the song takes on a more trap-flavored feel, and while it’s certainly interesting and it’s got a nice drum beat, I think some of the percussion drowns out Ne-Yo’s vocal charm, which is a shame because I think the song has a really cool post-chorus, but it’s again drowned out a bit by filters and the percussion. Definitely not a bad track, though, even if the lyrics made me feel a bit like I needed a shower.

ON UR MIND (ft. PARTYNEXTDOOR): Ahh, now this was a collaboration I was looking forward to. While I don’t regularly listen to PARTYNEXTDOOR, he’s shown up on several of Drake’s projects that I’ve reviewed (pretty much everything since “Nothing Was the Same” minus the collaboration tape with Future), and he also showed up on Kanye West’s latest album “ye.” So, I have my experience with PARTYNEXTDOOR, and I’ve gotta say I’ve generally liked him quite a bit as a feature (not sure how he does as a lead artist, though I wouldn’t be opposed to reviewing his projects in the future), so I was pretty excited to hear this and, overall, I’m happy to say I enjoyed it! Great, very groovy electronic production, a really fun drum beat, and I think that Ne-Yo and PARTY mesh well together vocally. Even as he tries these new dancehall-flavored songs, Ne-Yo proves that he’s still got his musical chops after all this time, and he also seems to pick some pretty solid features as well. Really liking this one!

BACK CHAPTERS: Hearing this song gave me some vibes to Ne-Yo’s “Forever Now” from "R.E.D.," though it feels like it has a bit of a trap flavor to it. Even so, I don’t think I dig it all that much compared to some of the other songs on the album. Ne-Yo retains his usual vocal charm here, but nothing about his performance feels all that sticky, and the rather bombastic percussion just feels a bit bland as well. I also think the hook is one of the clunkier ones on the record. It’s a song that doesn’t really have a whole lot going for it outside of Ne-Yo’s vocal charisma, and while some songs can be sold on charismatic performances alone, this one just doesn’t seem to do that.

HOTBOX (ft. Eric Bellinger): Now, originally I thought this one was starting just like the last one ended (with moody instrumental production and an 808 beat), and while it does, the song reads as more of a slow-jam, and it’s got a more sensual vibe to it than the last track. Ne-Yo’s keeps himself in his lower register, but he retains his usual charisma on this one, and I find the hook here to be one of the more fun ones on the record. Featured vocalist Eric Bellinger also provides some very pretty vocals, though once again I did wonder if Eric Bellinger was another one of Ne-Yo’s alter egos because, as I said about Romeo Santos earlier, I didn’t think Eric sounded much different than Ne-Yo. Still, the two sound great up against the moody, airy production on this one, and I’m definitely really liking it!

OVER U: Right of the bat, I love the strings on the intro of this one! They sound gorgeous, and they mesh nicely with the more upbeat 808s. Ne-Yo’s vocal flow is also very strong, and the hook is once again very captivating and exciting. It’s another song that feels like Ne-Yo experimenting with some new elements sonically, but also sticking close enough in his comfort zone to appeal to listeners that grew up with his music in the 2000s. I definitely like where this one’s going, and I can definitely see myself coming back to it quite a bit in the future.

WITHOUT U: A much more spacey track with a very danceable beat, this song actually surprised me. As someone that’s very used to Ne-Yo having a squeaky clean, radio-friendly image and very school-appropriate lyrics, hearing him say “shit” and also drop the N-word actually made my heart skip a beat. Seems weird to say, but given that he was more “squeaky-clean” than his contemporaries (like Usher and Chris Brown), it just came off as weird to me. Either way, the song itself is very woozy, it’s got a very exciting hook, and Ne-Yo’s vocals sound great up against the instrumentals here. Good song!

APOLOGY: Hey, I mentioned Chris Brown and Usher when talking about the last track, and now I hear this one, and I definitely feel like I’ve heard things like this out of Usher and Chris Brown. It’s got the same kind of 808 beat, Ne-Yo’s vocals are filtered similarly, and I think his vocal inflection even reminds me of Chris and Usher, the former especially when he jumps up into his head voice. Even despite that, it’s a nice-sounding song and I think it’s got an emotional feel to it (it helps that Ne-Yo spends the song apologizing to many girls from his past), even though I think it could use a better hook, and some of the ad-libs are a little bit obnoxious. Still, it’s a decent song, just far from the album’s best.

OCEAN SURE (ft. Candice Boyd and Sam Hook): In a few ways, I hear this song and it just feels to me like a number of the cuts on the rest of the record. It’s a slow jam with a very similar 808 drum beat, and while Ne-Yo’s vocals remain as smooth and gorgeous as ever, I can’t say the same for one of his features: Sam Hook’s…ahem, “hook” is nothing all that special, and I’m also not all that crazy about his falsetto on this one. Candice Boyd does bring some nice vocals on her verse as well, but I think her performance takes a bit of a step backward when she tries to sing the hook, a hook that I think might be one of the album’s weakest. Yeah, I wasn’t all that crazy about it.

“The Struggle” (Interlude): This is just a ~30-second interlude where an anonymous, filtered voice just talks about that theme Ne-Yo brought up before of “caterpillars, cocoon, struggle, and butterfly.” Remember that theme? No? Don’t worry, I didn’t either because it’s hardly there for the record. I appreciate that Ne-Yo tried to go for something more conceptual with that, but given that he does little to develop it throughout the record, what’s even the point?

GOOD MAN: Interestingly, the title track of the album is actually the final song (not counting the bonus tracks, of course). I’m sure that’s happened on other albums that I’ve reviewed, but I’m just so used to it being one of the first few songs, so this is odd. Either way, this is a much slower song with a very smooth guitar melody, and Ne-Yo uses this cut to sing about what is the theme of the album: being a “good man.” Even though the track is more downtempo, it’s still plenty energetic and Ne-Yo’s effortless vocal charisma remains intact. I do wish there was a tiny bit more to the song (maybe the chorus one more time to round it out), but overall, it’s a very nice end to the Standard Edition of the album.

POUR ME UP: The first of three bonus tracks exclusive to the Deluxe Edition, this one actually takes on something of an electro-pop feel, and it honestly came across to me as a bit of a throwback jam. I like the very bouncy beat and the extremely bright synths on it, and Ne-Yo’s vocals remain as smooth as ever, meshing really nicely with the electronic instrumentals. I definitely think this is one of the most different songs on the record, and it’s definitely something Ne-Yo fans won’t be used to, but I definitely think it’s got a lot going for it, and I really dig it!

WON’T BE OFTEN: The second of the Deluxe Edition’s bonus tracks, this song keeps in with the electronic feel that the last one brought in, and I once again really dig the bright synth keys on here. The beat is also very snappy, and I like some of the vocal effects that Ne-Yo utilizes on this one, as they make it feel very vibrant but still unique. I also find it pretty interesting that, while the song is really upbeat and exciting, Ne-Yo’s vocals on the hook are pretty relaxed. It’s a very good track, and I definitely dig it a lot! Certainly gonna get several repeat listens out of me!

RESET THE NIGHT: Ending off the Deluxe Edition, the final song also retains the electronic instrumentals of the last few tracks. They’re a bit different than the instrumentals on the last two (they feel somewhat darker than the instrumentals on those ones), but the song still has a very thumping beat and a really groovy vibe to it. Ne-Yo’s vocals are gorgeous, the hook is one of the best on the record, and I tell ya, Ne-Yo seems to be taking well to this electronic music. His natural charm allows him to take on something like this, and stick the landing perfectly. He flows so effortlessly over the song, and it's definitely a great ending to the record!

Overall, I can definitely say I’m very impressed with this record. While it’s not quite Ne-Yo’s best (not by a long shot, in fact), I definitely think he comes through with some very solid tracks here and he continues to show us why he was one of the bigger musicians of the 2000s. It’s a nice compromise between the R&B style that made him who he is, but with some newfound electronic and dancehall crossover that feels like a natural evolution, as opposed to change for the sake of change. He also remains an excellent vocalist even after all this time (honestly, I’d say he hasn’t skipped a beat vocally here) and he also has an ear not only for very solid, spacey, and moody production but for some decent features. Grabbing big names like Bebe Rexha, Stefflon Don, and PARTYNEXTDOOR, the features help round the record out nicely and help it to become another solid record for Ne-Yo.

Now, of course, that thing I mentioned about the “caterpillar, cocoon, struggle and butterfly” theme still feels like it’s not developed as well as it could be, but that’s actually not too much of a bad thing, since it’s not the essential theme of the album (being a “good man” is), and that doesn’t really take away from my enjoyment of the project. And, yes, the album does get off to a bit of a slow start, and the fact that he’s putting out a 20-song record that’s just over an hour is a bit scary, but he overcomes that somewhat slow start and, for the most part, the album is pretty consistent from there. Actually, I was originally gonna give this a “Good” (and I probably would’ve if I had just listened to the Standard Edition of the album), but the Deluxe Edition’s tracks were so strong that they pushed the rating up a bit. Odd, right? Either way, Ne-Yo comes through on “GOOD MAN” with a pretty great album, and he proves that, even after all these years, he hasn’t lost his touch.

Nice work, "Good Man!"

Favorite tracks: NIGHTS LIKE THESE, U DESERVE, PUSH BACK, ON UR MIND, HOTBOX, OVER U, WITHOUT U, GOOD MAN, POUR ME UP, WON’T BE OFTEN, RESET THE NIGHT

Least favorite tracks: BACK CHAPTERS, OCEAN SURE, and the Intro and Interlude tracks (for feeling a bit tacked on)

Rating: Excellent