THINK PIECE: Songs I Love From Albums I Don't Love

It’s no secret that I’m generally not the most analytical or harsh music critic in the world. It doesn’t take all that much for me to really dig an album or a mixtape most of the time. However, there are those occasional moments where not even I could salvage a certain record. Even then, though, regardless of how bad the record is, I can generally find at least one song worth taking away from each project (“Cozy Tapes Vol. 2: Too Cozy” is a rare exception).

This list will focus on just that: songs I enjoyed from albums I did not. For the songs to qualify for this list, they have to have come from an album/mixtape/EP that I reviewed and gave a rating of "Okay" or lower. That means a few “Okay” projects will make the cut (think of them as the “Low Okays,” if you will), but generally, these all come from “Bad” and “Awful” projects.

Also, ideally, if the songs listed here were released as singles, I will use their single covers. If not, I’ll just use the album covers. And again, sorry if the images are of different sizes. Blame Google. That said, here we go.

THE WEEKND FT. DRAKE - LIVE FOR

I’ve made it known quite a few times before that I am not that crazy about The Weeknd’s debut album “Kiss Land.” While I certainly see the appeal of it and don’t dislike it, I feel like it’s just not for me, and I didn’t really connect with a lot of the songs on it. Perhaps I just need to go back to some of the songs and try to re-listen to them, I’m not sure. What I do know, however, is that even if the album wasn’t entirely to my liking, “Live For” clicked with me from the jump. I loved the song’s fast pace, The Weeknd’s vocals are on point as always, and the hook remains very fun and catchy to me. Drake’s performance and rapid-fire flow also add an extra layer of enjoyment to the song. Maybe I might do what I did with this song (go back to it and let it grow on me) for the rest of the album.

FERGIE - TENSION

I could’ve also used “Just Like You” or “A Little Work” here, but since this was the song that clicked with me first, I’m picking it. Fergie’s long-delayed second album was definitely a disappointment, and with her recent performance of the Star-Spangled Banner at the 2018 NBA All-Star Game, she has been the talk of the town for all the wrong reasons lately. However, I have to give her credit for “Tension,” because God, is this song infectious! On an album where Fergie tried to take a new route and “modernize” her sound with some less-than-stellar rap tracks, “Tension” felt like a pleasantly old-school Fergie song, with an infectious, pumping instrumental, a charismatic performance from Fergie, and an ear-wormy hook. Did it single-handedly save the album it was on? Well, the damage was done with “M.I.L.F. $,” but all in all, at least we got this out of it.

TAYLOR SWIFT - NEW YEAR’S DAY

Taylor Swift’s latest record “reputation” was definitely a major disappointment, even for someone like me that’s generally not into her music. However, “New Year’s Day,” the final song on the album, damn near saved it entirely for me. It’s definitely one of the more minimalist songs on the album, given that it’s just a piano, some minor guitar plucking, and Taylor’s vocals, but it’s a track that just feels so raw, subdued, and sincere in comparison to a lot of what else comes off of the record. Where songs like “Look What You Made Me Do” and “This Is Why We Can’t Have Nice Things” felt so mired in Taylor’s recent controversies, this felt like old-school Taylor in the best of ways, as she sings so beautifully about finding a New Year’s love that you have a great night with, but also stay with the next morning when you’re cleaning up after the party. She yearns for someone that will hold on to these memories, but also not become a stranger after the ball drops. It’s such a beautiful track that I’ve definitely held onto, even if I was largely unimpressed with the rest of the album.

POST MALONE FT. QUAVO - CONGRATULATIONS

While I’ve generally found Post Malone to be a decent person from the videos I’ve seen of him, I wasn’t really impressed by the collection of elevator music that was “Stoney.” However, one song that I particularly took away from the record was “Congratulations.” Though I wasn’t crazy about it at first, this one grew on me with its ear-wormy hook, upbeat production, and a solid guest performance from Quavo. While I definitely think it’s not Post’s best song to date, especially after how good “Rockstar” and “Psycho” were, I definitely dig this track, and I think it was one of the stronger songs off of “Stoney.”

EMINEM FT. BEYONCÉ - WALK ON WATER

There’s no two ways about it, Eminem’s “Revival” was a colossal disappointment. Even if you were one of the album’s defenders (like I was), there’s a good chance you found that this record wasn’t up to Eminem’s usual standards. And while the remix of “Chloraseptic” definitely did a great job letting us know that Eminem heard us, was angry, and had his fire back, it didn’t change my thoughts on the album. Regardless of how I felt about the record as a whole, though, I definitely have returned to “Walk on Water” several times before and since reviewing the album. Beyoncé’s angelic vocals make the hook on this really memorable, and the very minimal instrumental goes well with Eminem’s performance, as he raps in a sort of spoken-word style about his anxieties and fears as an artist who has something to prove, given the high expectations placed on him. It’s a song that shows a side of Eminem we don’t see much of, and beyond that, it’s just a great song.

NAV - LONELY

Honestly, I could possibly add a few examples of NAV songs because, while I haven’t really enjoyed either of his projects on the whole, there have been quite a few songs off of both mixtapes that I’ve regularly returned to. In fact, with how much I listen to NAV songs, you’d think I loved both projects, but I didn’t. It just happens that the songs I did like, I REALLY liked, and enjoy coming back to often. “Lonely” is an example of that; with its moody, sad R&B feel, decent vocals from NAV (even if his performance is right in his comfort zone, and his lyrics leave a lot of questions in my mind), and a hook that gets stuck in your head too easily, this is a song I’ve definitely returned to over and over again.

NAV & METRO BOOMIN - CALL ME

See? Like I said, another “NAV” song. Once again, while NAV and Metro Boomin’s collaboration project “Perfect Timing” was a step back from NAV’s self-titled debut mixtape, there were definitely some tracks I took away and threw into my regular rotation. In fact, I was trying to decide between this song or “Held Me Down,” because I do love both of them, but in the end, I went with “Call Me,” because again, it was the track that clicked with me first (since I heard it before reviewing the tape). Once again, a rather moody instrumental compliments NAV’s crooning, as he talks about how the fame made him miss his old life when he didn’t have to worry as much if others were there for him. It’s something I’ve definitely enjoyed a lot, and have continued to return to over time.

MIGOS - OUT YO WAY

It’s pretty clear at this point that I’m not exactly a “Migos fan.” If it wasn’t established by my “Bad” review of “Culture,” which went way against the general norm, I just can’t get into their music. However, “Out Yo Way” was a song that ended up really growing on me. Beyond the pretty charismatic vocal performances throughout this song (specifically Quavo’s), it was pretty cool to see these guys end their first album with a song that talks about the women who have stuck with the Migos since starting their music career. It’s a kind of different take on women that’s not seen enough in the industry today, and it feels refreshing for them. Even if I’m not a huge fan of theirs, “Out Yo Way” is a song that I definitely kept coming back to, and will continue to come back to.

MIGOS - STIR FRY

And speaking of Migos, “Culture 2” was an album that, for me, was a huge step back from the first one, but despite the album making me slip slowly into madness, I found myself returning quite often to “Stir Fry,” and I actually consider it potentially my favorite Migos song (though, admittedly, I also really liked “Gang Gang” off of this album). Quavo, despite being the least interesting part of “Culture 2” to me, actually had a pretty fun performance and an ear-wormy hook on this one, Offset’s verse was filled with really fun and exciting flow, and Takeoff proved to be no slouch on the song. On top of that, the production is far more bright and vibrant helped this to not feel like “just another Migos song,” like a lot of the other tracks on the album. Was “Culture 2” still a weak record? Absolutely. Is “Stir Fry” an extremely enjoyable song on its own? Yes indeed.

LIL YACHTY FT. PNB ROCK - SHE READY

Let’s end things off with a very recent example! While Lil Yachty’s latest album “Lil Boat 2” felt like largely wallpaper trap with less-than-stellar performances and lyricism from Yachty, “she ready” felt refreshing in comparison to what most of the other songs on the album provided. The flute-driven, kind of video game-like instrumental called back to some of the more vibrant, fun, oddball tracks Yachty has been involved with (like “One Night,” “Broccoli,” and “iSpy”), Yachty’s autotune-driven crooning also hearkens back to those tracks and injects that character and kind of odd innocence that the other songs on the album failed to provide, and PnB Rock’s performance only adds more fun to the song as a whole. Great track that definitely felt more in Yachty’s wheelhouse than most of the other stuff on the album.

And that’s all I’ve got! Once again, a nice even blend of songs here; five from albums I considered “Okay,” and five songs from albums I considered “Bad” or “Awful.” Always nice when you get that even blend. What are some examples that you have? Think deep into an album, mixtape, or EP that you did not like, and tell me one song that you have kept with you from said project. Comment your examples down below!

THINK PIECE: Albums That Have Either Grown On/From Me

Sometimes, you just need to add something OTHER than music reviews to your blog. Some think pieces, some lists, something or other to keep things from getting stale. I wanted to make my first musical think piece, and it's a topic I've wanted to talk about for quite some time now: albums that have either grown on me or grown away from me.

For this list, I will primarily be focusing on albums that I reviewed in 2017. 2018 has just started, and a lot of these new albums haven't had nearly enough time to settle with me and talk their talk beyond one listen. All of the records on this list are records I talked about during 2017, and all of them are albums I have slightly different opinions on than before. This doesn't necessarily mean I would change my ratings for them or anything, it just means that I've either come to appreciate them a bit more or maybe I just haven't dug them as much as I did during my first listen. Let's look at them and discuss.

Oh, and each record will be pictured below, but I apologize if the scale happens to be inconsistent on them. I couldn't find all ten of them at the same resolution, so I just had to make do with what I had. Either way, let's get into these albums (and mixtapes, in some cases).

LIL UZI VERT - LUV IS RAGE 2 (GROWN ON)

Sure, prolific SoundCloud rapper Lil Uzi Vert's debut album is a wildly inconsistent mess, filled with some of his highest highs, and his lowest lows, and for every "Dark Queen" or "The Way Life Goes" on the record, there's a "444+222" or a "Pretty Mami." However, I've pretty much consistently come back to all of the tracks on this album that I listed under the "favorites" in my review (some have even grown to become favorites with multiple listens), and I'll point out that I listed 8 of the 16 songs as my "favorites" on the album. While this record may be a bit bloated and inconsistent, if you can get me to regularly come back to and enjoy half of it, you're at least doing something right. Kudos, Uzi.

THE WEEKND - HOUSE OF BALLOONS (GROWN ON)

You can actually apply this to the "Trilogy" as a whole, but I specifically want to zero in on "House of Balloons" because, as you guys may know, I rated this the lowest out of the three original mixtapes. And while I still honestly stand by that, I have to give it credit for having two of my all-time favorite Weeknd songs, "House of Balloons / Glass Table Girls" and "The Party & The After Party." Repeat listens to the later mixtapes also yielded some new favorite songs as well, such as "Life of the Party," "Next," and "Till Dawn (Here Comes The Sun)." Sure, I feel like I'll have to go back and listen to some of the other songs on this thing to see if it REALLY grew on me, but I have to give it credit for giving me two of my personal favorites from him.

RAE SREMMURD - SREMMLIFE 2 (GROWN ON)

I know, I gave this one a good review when I first looked at it, but here's the thing: while I enjoyed both of Rae Sremmurd's albums, I at first wasn't too sure whether or not I enjoyed this more or less than the first "SremmLife." This one still felt a bit too inconsistent to me, and the album really starts to slow up at the end with songs like "Came A Long Way," "Take It Or Leave It," "Do Yoga," and "Over Here." However, repeat listens to a lot of these tracks have helped me to enjoy this thing even more than the first. It's a nonstop party, it's extremely fun and, while the album does still slow to a crawl near the end, I can't deny it's a really fun record that shows some maturity out of the boys. It's another one of those albums where I never hit the skip button on any of the tracks I listed as "favorites," which not even some of my "excellent" albums can do, so Rae Sremmurd deserves some credit there. Now, if only they'd release SremmLife 3 already...

MACKLEMORE - GEMINI (GROWN AWAY)

This is gonna be a rare case on this list where an album I already didn't enjoy grew even further away from me. When I first heard this album, I felt like the only real fun I had with it was with the songs that didn't sound like typical, formulaic Macklemore affairs. In fact, you know I had a rough time with the album when I had blanked pretty much everything I had just heard from it out of my head immediately after writing the review. However, I didn't give it an "Awful" rating because, at the time, I felt like there were at least a few solid tracks that would be worth coming back to. Given that I haven't even tried to come back to them since then, and haven't really cared for them when I did come back...yeahhhhhh...

MILEY CYRUS - YOUNGER NOW (GROWN AWAY)

You ever listen to an album and not exactly comprehend why you liked it? Something about it just felt right? That was me with the latest Miley Cyrus album, "Younger Now." Going into the album, I didn't really care much for country music, nor did I care much for Miley's music. Yet, this record happened to strike a chord with me when I listened to it. I'm not sure what it was, but I ended up enjoying it quite a bit more than I thought. However, since listening to it for my review, I can't really say I've gone back to it much, nor have I had the motivation to return to it. And it's not a case of "I'm not going back because I don't like it," because hearing it again, I do still think it's good, but I guess it's just that I like it in the context of the artist and the genre, and just don't really find it all that exciting as a comfort listen.

SHANIA TWAIN - NOW (GROWN AWAY)

Here's another example of an album I already didn't like that I've grown even farther away from. This was one of my personal biggest disappointments in the art world in 2017 because I love Shania and I still listen to her old music. However, as I mentioned in my review, it felt like Shania, on this album, wasn't sure whether to modernize her sound or stick to what made her big, and the album just comes off to me as very bland, robotic, and formulaic. But again, I didn't give it an "Awful" rating at the time. And each time I tried to go back to it, I found myself disliking it more and more, and I have to say, I think I should've given it an "Awful," all things considered.

NIALL HORAN - FLICKER (GROWN ON)

Another example where an album grew on me even after I wrote my review. The thing is after my first listen, and after I posted said review, I had a gut feeling I wouldn't come back to this thing much, and that as light and nice as it was, it wasn't gonna have the lasting appeal that, say, an Ed Sheeran record has had on me. However, this is another one of those albums where all of the songs I have listed under my "favorites" have become unskippable to me. There's just a certain charm and beauty to Niall's songs that help him stand tall among the many artists comparable to Ed Sheeran.

KANYE WEST - THE LIFE OF PABLO (GROWN ON)

Another album where you pretty much won't find me skipping out on any of the songs I have listed as "favorites," I actually remember that this album made me tired after my first listen. Maybe it's because I tried to take extensive notes, maybe it was overly long, maybe it was the time of the day, I have no idea, but either way, I felt extremely tired after listening to it, and part of me believed that would impact whether or not I regularly came back to this thing. It didn't, and while it's an album I joke about (how does Kanye go from singing about a God dream to wishing his penis had GoPro so he could rewatch his sex in slow motion?), it's an album I still enjoy listening to and come back to on the regular.

FOO FIGHTERS - CONCRETE AND GOLD (GROWN AWAY)

I think I established in my review of this album that I should keep my nose out of the rock music scene and just stick to the pop, hip-hop, and R&B stuff I usually review. However, in my younger years that were spent playing "Guitar Hero," I loved me some Foo Fighters, so surely a new album could get me back into the group's stuff, right? Well, no. It's not that it was bad to me, I just couldn't really get into it. And this isn't a case where repeat listens caused me to see issues in the music, it's a case where I haven't felt motivated to give it those repeat listens. This is actually one of those cases where I wish I had either given it an "It's Not For Me" rating, or just no rating at all.

U2 - SONGS OF EXPERIENCE (GROWN AWAY)

If there's one album review I've written where people will look at and say that I "overpraised" an album, it's probably this one. Most of the reviews on this thing were pretty average, and a lot of people just didn't really care for it. Maybe it's because of it just sounding like everything they've done before? I don't know, but for some strange reason, I found myself enjoying it when I first listened to it. And even then, oddly enough, upon my return to some of the songs on the album, I still found myself having a pretty good time! The main reason I say "grow away," though is because those times where I return to it are few and far between. I feel like, of all the albums I've given high ratings to, this is the one that had the least lasting appeal to me. I still acknowledge that I did like it, and still do, but I just don't feel any urgency to come back to it at this point.

So, there you have it, ten albums I’ve either grown to appreciate more or haven’t enjoyed nearly as much as when I reviewed them. Oddly enough, I listed five albums that have grown on me and five that have grown away from me. Funny, huh? Either way, what are some albums that have either grown on or away from you? Leave yours down below in the comments!

Logic "Bobby Tarantino II" Mixtape Review

Alright, heading right back to Logic, it’s now time to take a look at his new mixtape “Bobby Tarantino II.”

This is the latest project from Maryland rapper Logic, who had a big 2017 with the release of his album “Everybody,” which contained his first Top 10 single “1-800-273-8255,” a song that peaked at #3 on the Billboard Hot 100 and ended the year at #31 on the Year-End Hot 100. I just reviewed said album and found that while the message throughout is a bit inconsistent, there are quite a few enjoyable tracks on there, specifically the aforementioned “1-800-273-8255,” among several others.

However, this mixtape here is not a follow-up to said album, it’s a follow-up to his 2016 mixtape “Bobby Tarantino,” which is not only a project I really enjoyed, but it was a tape that (so I've been told) established Logic with a newfound sense of braggadocio in comparison to some of his earlier releases, so much so that even Rick and Morty joke about the differences between “album Logic” and “mixtape Logic.” So, having enjoyed his past few releases, I’m heading into this tape pretty excited, especially if “mixtape Logic” is gonna be coming out in full force. The first single off of this thing, “44 More,” only helped get me even more excited. Let’s see if he delivers, shall we?

Grandpa’s Space Ship: This is the same skit, word for word, that Logic posted on his Twitter to advertise this mixtape, where Rick and Morty argue about “album Logic” and “mixtape Logic.” I’m not a Rick and Morty superfan, and I obviously won’t listen to this much in the future, but it’s still a pretty humorous intro.

Overnight: Returning to the more braggadocious feel after “Everybody,” Logic talks on this track about how people think he got famous overnight, and he does that over a very bright, old-school video game-esque instrumental with more of the same great flow that we’ve come to expect out of him. I also really love some of the lyrics on this track, and there are also some really cool-sounding vocal melodies throughout. Really good first song for the mixtape.

Contra: I’m sure it should come as no shock that Logic named this track after a classic video game (anyone remember “Super Mario World?”), and it should also be no shock that Logic has some really great flow as he flexes over a kind of darker-sounding instrumental about how he has been blowing up and getting more mainstream attention. As you’d expect, Logic oozes with the braggadocio feel that he came through with on the first tape, and he has a lot of fun on this very good track!

BoomTrap Protocol: Logic details on this track how to become classified as a “BoomTrap” (an artist that mixes a boom-bap style with a trap style), and he does that over a slightly more jazzy 808-driven beat. His rapid-fire flow remains strong throughout this one, and his autotune-assisted vocals throughout the song help to add an extra layer of character and fun. The hook is also really memorable, and the song itself is really head-noddy and energetic. Really fun track!

Yuck: A song where Logic talks about anyone that may have beef with him, only to tell them that he’ll let his success do the talking, this track features a really dark, kind of string-driven instrumental melody to accompany the 808-drum beat. I once again like his rapid-fire flow, confident performance, and pretty solid lyricism, where he brags about his success while maintaining that theme of PLP that he brings to the table. It’s cool to see him refer back to Rick and Morty’s idea of “album Logic” versus “mixtape Logic” on this one, and while it’s not one of my favorites on the album, I do think it’ll grow on me in time.

Indica Badu (ft. Wiz Khalifa): Leave it to Logic to make a song that is 4:20, features Wiz Khalifa and talks all about the joys of smoking weed. The beat, while drum-heavy, is a bit more chilled and laid-back, obviously, to create the feeling of being on a weed high, and despite the laid-back feel of the song, Logic certainly isn’t laid-back here, maintaining that usual, rapid-fire flow that he’s most known for. The hook also has some really fun vocal performances, and Wiz Khalifa’s performance also features some really great flow. I’m no smoker but damn it all, this song is too much fun!

Midnight: Logic stays true to himself on this more nocturnal, synth-driven track that feels more vocal than some of his other tracks, and it’s all the better for it. Logic’s vocals are smooth, the instrumental is minimal, but it’s a very smooth, glossy track. The feel changes on the second part of the song, and while it’s still minimal, it feels much harder and less vocal, as Logic returns to his more rapid-fire feel here. His flow throughout the entire song is really strong, and the song is head-noddy and extremely fun! Great track!

Warm It Up (ft. Young Sinatra): Logic brings back his “Young Sinatra” persona on this track that feels like it’s kind of dominated by the kind of abrasive and overpowering drum beat. Logic continues to provide great rapid-fire flow, and his lyricism is quite clever, but I just kinda wish the beat wasn’t so overpowering here. Still, Logic’s vocal performance goes up against the beat very well, and I like that he has a few subtly-political lyrics on this one. This track might grow on me a bit in the future!

Wizard of Oz: Comparing himself to the Wizard of Oz, Logic talks about how far he has made it in his career, and he does that over another overpowering, but not as abrasive, trap drum beat, and while the hook on here isn’t the strongest, I do like Logic’s vocal performances and his autotuned-crooning is smooth and fun. A little too short, and not one of my personal favorites on here, but with a few more listens, this one might grow on me a bit.

State of Emergency (ft. 2 Chainz): Logic collaborates with 2 Chainz on this track, as the two brag about their success, with Logic clapping back at the haters that aren’t happy about him becoming a Grammy-nominated rapper. They do this over a hard-hitting, but not really too uptempo, trap beat that accompanies a very cool, dark instrumental. 2 Chainz’s verse once again reaffirms why he’s such a solid rapper, as he brings some clever bars, solid lyricism, and great flow, meshing well with Logic’s typical strong flow and decent lyricism. Another great track!

Wassup (ft. Big Sean): Once again talking about his success, Logic is joined by Big Sean, as the two of them discuss how they’ve become big enough to make their own requests. Logic and Big Sean provide some great flow as always on this one, and the instrumental has some cool moments, but I do feel this one doesn't have the best instrumental melody or drum beat, and the hook isn’t one of the strongest on the mixtape. Might grow on me in the future, though, specifically because of the amazing flow from both rappers.

Everyday (ft. Marshmello): Logic talks on this single about how hard he works and how he hasn’t given up, over a Marshmello-assisted instrumental, and I love the energy this song provides! It feels like a perfect pump-up song with a really fun and exciting hook, I love Logic’s vocal melodies on this song, and I know I’m repeating myself once again, but Logic reminds us that his flow and technicality is among the best in the game. Definitely enjoyed this one quite a bit!

44 More: Something of a sequel to the track “44 Bars” from his last mixtape, Logic brings out the braggadocio in full force on this cut, talking about a lot of different things, from his family issues to the industry as a whole, and he does that over a really bright, 808-driven instrumental. With this braggadocio comes some really strong flow, a really charismatic performance, and some extremely clever lyricism. This is probably one of Logic’s best songs yet, and it’s a great song to end this record off on.

Overall, “Bobby Tarantino II” reaffirms Logic’s talents as a rapper, and his return to more braggadocio-styled rap after the more socially-conscious “Everybody” is a welcome one. As always, Logic reminds us that he has some of the best flow of any rapper in the game, and he also reminds us that he is a great lyricist with a solid ear for production. It’s definitely not the political or social statement that “Everybody” was, but that doesn’t matter in this case, because Logic is instead coming through on here and displaying his rap talents without feeling like he has to be held back by a message he is trying to deliver. Furthermore, while he does include that Rick and Morty skit and the beginning, this isn’t like the Atom & God storyline from “Everybody” where it appears and feels wholly unnecessary, it’s humorous and it sets the stage well for the rest of the tape. This is definitely an enjoyable project from Logic, and it makes me really excited to see where he goes with what he claims to be his final studio album. Guess we’ll have to wait and see, but for now, “Bobby Tarantino II” is a great listen.

Welcome back, Bobby.

Favorite tracks: Overnight, Contra, BoomTrap Protocol, Indica Badu, Midnight, State of Emergency, Everyday, 44 More

Least favorite tracks: Uhh, I don't know, I thought all of them were pretty solid. None of them really.

Rating: Excellent

Lil Yachty "Lil Boat 2" Album Review

It feels like it’s been too long since I’ve done a “new” album review, but it’s that time again: it’s time to take a look at the new Lil Yachty album “Lil Boat 2.”

Lil Yachty is a Georgia-based rapper who became a big breakout star in 2016 with his viral singles “One Night” and “Minnesota,” which both led up to his debut mixtape “Lil Boat” receiving a bit of praise in some circles. He didn’t have as strong of a 2017, with his debut album “Teenage Emotions” receiving very negative reviews and the single “Peek a Boo” not being received far better, but Yachty continued to see some prominence as a feature, earning Top 10 guest appearances on D.R.A.M.’s “Broccoli,” and on KYLE’s “iSpy.” “Broccoli” also finished at #34 and #70 on the Billboard Year-End Hot 100 in 2016 and 2017, respectively, while “iSpy” finished at #28 on the Year-End Hot 100 in 2017.

Now, while I’ve covered Lil Yachty numerous times as a featured artist, from my reviews of Chance the Rapper’s “Coloring Book” to Macklemore’s “Gemini” to A$AP Mob’s “Cozy Tapes Vol. 2: Too Cozy” (the less we talk about the last one, the better), and while I’ve enjoyed both “Broccoli” and “iSpy,” I’ve never really taken Yachty all that seriously on his own. Sure, I have enjoyed “One Night” quite a bit, and “Bring it Back” has some decent moments on it, but I’ve found that, while Yachty is definitely one of the more distinct and unique Soundcloud rappers, I’ve just never found him all that interesting. Sometimes, he injects this sweet innocence into a track like he did on “One Night,” but other times, he just comes through with what feels like complete cheese (“play with that pussy like peek a boo” and “she blow that dick like a cello” immediately come to mind). However, morbid curiosity got the best of me and I wanted to give this record a shot and see if Yachty came through on it. Let’s find out together if he does!

SELF MADE: A really short track that feels more like a snippet than anything, I did really dig the production at the start of the song, though the overbearing trap drum beat kinda turned me off a bit. I kinda wish the song stuck to the lighter, less drum-driven sound from the intro. Still, Yachty provides another pretty solid vocal performance on this one, and I think he still kind of injects some funny innocence into a track that is anything but innocent.

BOOM! (ft. Ugly God): A song that basically addresses Yachty’s haters, this one is, as you’d expect, not lacking in energy, but all of it just sounds like wallpaper trap to me. I feel like neither Yachty, nor featured artist Ugly God, do anything really interesting on this track, and Yachty doesn’t really inject that vocal charisma he usually has. It’s a shame, but this is definitely one of the least interesting Yachty songs I’ve heard thus far.

OOPS (ft. 2 Chainz and K$upreme): While this track has some charismatic performances from Yachty, who again displays some pretty solid flow throughout, I can’t help but think of this one feeling a little too “wallpaper” as well. 2 Chainz has a decent verse that, unfortunately, isn’t one of his best, and K$upreme has a relatively fun hook, but the song itself just isn’t really all that interesting to me.

TALK TO ME NICE (ft. Quavo): Another unfortunately underwhelming trap track, I feel like this reads to me more as Quavo’s song than Yachty’s, and Quavo’s performance doesn’t come off as interesting to me because his stop-start, staccato flow is just too boring, and when you get Quavo on a track, it should be more fun than this is. Yachty’s performance, while energetic, doesn’t have the same amount of character that he usually has. I feel like he just doesn’t bring that same screwball fun that he brought on some of his stronger tracks, unfortunately.

GET MONEY BROS (ft. Tee Grizzley): This song, for me, is a rare example of Yachty, a usually humorous, interesting performer, being upstaged by his feature: Tee Grizzley’s verse, while it doesn’t quite save the track for me, is actually pretty fun and enjoyable, and I even got some enjoyment out of his ad-libs on this one. Yachty’s performance is unfortunately too sleepy, and he just doesn’t have that typical fun, autotune-driven crooning that has made some of his songs enjoyable here. The beat is, once again, standard trap stuff. Nothing special here.

COUNT ME IN: A song that feels kind of like a freestyle, this one has a kind of abrasive, very distortion-heavy instrumental that isn’t the most comfortable on the ears, and once again, I’m not finding Yachty’s performance to have all that much charisma or fun factor, unfortunately, making this track just feel kind of bland. Oh, and I know I’m not judging this album too harshly on its lyrics (it’s turn-up music, it’s not inherently lyrical), but I can’t help but wonder what the hell this guy means when he says “make a bitch touch her knees, she was Vietnamese.” Someone help? Please?

she ready (ft. PnB Rock): Alright, this is something I can dig! The very bright, flute-driven, kind of video game-esque instrumental melody (I kinda get some “Banjo-Kazooie” vibes on here for some reason) on this one is far more fun to me, and it feels like it fits more in Yachty’s wheelhouse. Yachty finds himself bringing more of that autotuned-crooning that gives him character and makes him interesting, and he also enlists the help of PnB Rock to add an extra layer of vocal fun to the track. Definitely enjoyed this one, it’s got some sweet charm to it that feels reminiscent of some of Yachty’s best.

love me forever: Another much shorter song that feels more snippet-esque, I do like the blissful, more bright production on this track, and once again, Yachty’s autotune-driven crooning rings off as more interesting to me than a number of the other tracks on here. It’s a rather sweet cut, especially given that it’s a love song, so lyrically, it’s less NSFW all-around. It definitely ends a bit too quickly, but while it lasts, it’s plenty of fun!

DAS CAP: Unfortunately, after those pretty fun and (in the case of “she ready”) more screwball-y songs, we go back to this more wallpaper, generic trap track that really doesn’t do justice to Yachty’s charisma. And I think the song feels too much like a skit to me, given that Yachty spends quite a few portions of the song just speaking. It makes the song as a whole come off as boring to me, and it feels like it’s not playing into Yachty’s best assets. It’s not the worst thing this record has to offer, but it’s certainly not the best.

POP OUT (ft. Jban$2Turnt): Another distortion-heavy, more abrasive track, I kind of knew I was in for a rough ride when the song started with Yachty just saying “yeah” eight times in a row. And unfortunately, it’s just another generic trap-flavored track that, while it shows Yachty with a more rapid-fire flow overall, it doesn’t play to his charisma or his other vocal strengths, and where a lot of the hooks on this thing have just been “whatever,” the hook on here is one of the worst on the album. Jban$2Turnt is also featured on this track, but he just sounds like everything I’ve heard before. Another unfortunately weak track.

NBAYOUNGBOAT (ft. YoungBoy Never Broke Again): While the beat and instrumental are more uptempo than some of the others on here, I feel like it’s held back by some less-than-stellar vocal performances. While YoungBoy Never Broke Again has some pretty solid flow throughout, I feel like he just doesn’t sound all that distinct on this one (I hear him, and I just imagine that he’s a mix of like Young Thug and Quavo), and Yachty once again doesn’t tap into his full potential, and his performance instead rings off as sleepy. It’s not a terrible track, but it’s nothing I’ll want to come back to in the future.

MICKEY (ft. Offset and Lil Baby): On this kind of darker-sounding track, Yachty enlists Offset to help possibly get this record back on track, but unfortunately, his verse just feels like almost anything else he’s put out with Migos, and Yachty and Lil Baby both kind of sleepwalk throughout the track, and they make it feel pretty boring overall. The good thing is that it is pretty short, so it’s not like it overstays its welcome too much. I feel like there could be an audience for this one, but I’m just not in it.

FWM: A more piano-driven trap track, Yachty has some decent flow on this song, but I again feel like he kind of sleepwalks throughout this one, and the song as a whole doesn’t tap into his full potential. Yachty has so much character and room for interesting performances, but it feels like he wastes it on the same wallpaper trap beats and sleepy flows throughout the album. Doesn’t help that these songs are pretty short, so they don’t let him come through with many interesting performances overall.

FLEX: “Flex for the fuckboys, hate cause you suck boy.” I feel like even the kid who made diss tracks about me in high school could come up with something more interesting than that. And look, I get that Yachty wants to flex on his haters, and that’s fine and all, but can he do that over a more interesting beat? Or, maybe he could use his vocal charm to make his performance less sleepy? Yeah, that sounds like a good idea.

WHOLE lotta GUAP: I feel like I’ve listened to this song already on this album. In fact, this feels like a song that I’ve heard 12 times already on this album. I wonder why that is? Oh, I know, because it sounds like almost everything else on here! Once again, generic trap beat, boring performance from Yachty, and the never-ending stench of missed potential combine together on this very weak track. Next!

BABY DADDY (ft. Lil Pump and Offset): God, if it wasn’t for Lil Pump, this track would’ve been terrible. While Yachty sleepwalks through this very generic trap song, Lil Pump actually brings his trademark energy and has some pretty strong flow. Offset’s performance isn’t too bad overall, and it definitely sounds better than Yachty’s very sleepy performance, but I have to say Lil Pump steals the show on this one. Without him, this track would’ve been one of the album’s worst. Lil Pump actually gives this some necessary energy.

66 (ft. Trippie Redd): The beat on this one is pretty standard and nothing special overall, but I think it’s helped by some relatively fun, autotune-assisted vocal performances. Sure, Yachty still sounds a little bit sleepy on this one, but the added autotune-effects actually allow him to unlock his character and charisma a bit better, and Trippie Redd has some nice moments vocally here. While it’s a case of “too little, too late” here, I do think this was a good track to end the album on.

Yeahhhhhhhh, definitely wasn’t digging this record. As I said in the beginning, I’ve never really been all that interested in Lil Yachty as an artist on his own, but I was hoping he would be able to inject some of his character and innocence into this album. Unfortunately, it doesn’t look like that’s the case; outside of some scattered instances, most of this record just comes off to me as Yachty rapping, rather sleepily, over some standard, by-the-numbers, wallpaper trap beats. It feels like his usual blissful production and fun autotuned-crooning that brought him into the limelight just aren’t here, and that’s a disappointment to me. It just makes this album tough for me to love, and it makes me wonder how long we’re gonna keep listening to these by-the-numbers “Soundcloud rappers” put out generic albums before we demand some more personality.

To that point, I can’t help but wonder where Yachty will go from here. Sure, he had some success off of the first “Lil Boat,” but it seems like the common consensus was that “Teenage Emotions” was not a strong enough follow-up, and with “Lil Boat 2,” it feels like Yachty is just phoning it in. How many more sub-par records will he put out before people tire of him? Being a sequel to “Lil Boat,” I was hoping for some more screwball fun with this album, but it just feels so painstakingly bland, and it leaves me yearning for more. I want to see more tracks that have more fun, oddball production, and less by-the-numbers trap beats. I want Yachty to not sleepwalk through the tracks and bring that autotuned-crooning that made some of his previous songs so fun. I want the other features to bring the level of energy that Lil Pump brings on “BABY DADDY.” Until that happens, though, I feel like Yachty is gonna stay stuck in this rut, and he’s not going to make any more waves until he gets out of it.

Just skip this. Please.

Favorite tracks: she ready, love me forever, 66

Least favorite tracks: BOOM!, TALK TO ME NICE, POP OUT, FLEX, WHOLE lotta GUAP

Rating: Awful

Logic "Everybody" Album Review

As promised, here’s my review of Logic’s 2017 album “Everybody.” I know this really has no relation to his next project “Bobby Tarantino 2,” but I’d been thinking about reviewing the album for some time now because I’ve been hearing such polarizing things about it, and while I really like “1-800-273-8255,” I never got to hear much else from this record, so I wanted to change that. Let’s see what side of the fence I sit on, shall we?

Hallelujah: You already know how I feel about longer tracks, and right off the bat here, we get one that’s just about 7 and a half minutes. Takes some guts to do something like that. Either way, the song itself is basically an introduction to the album’s concept, where Logic gives his perspective on the world as a whole, and I have to say, it definitely has some very luscious instrumentals, some nice vocal melodies from Logic (though I think he goes on really long with the “open your mind” thing at the beginning), and I appreciate that his flow and clever lyricism remain strong from the “Bobby Tarantino” tape, even if I could do without the skit in the end with Atom and God (the latter of whom is portrayed by Neil deGrasse Tyson). Good start to the album!

Everybody: Logic speaks about racial equality on this track, and while the hook on this screams “KENDRICK LAMAR IMPRESSION,” I do think said hook is pretty catchy here, and Logic’s flow remains on point as usual. The instrumental is kind of light, but it’s bright and the drum beat is really sticky, and it compliments Logic’s flow nicely. I am a little shocked that the track is as short as it is, but overall, it’s a very enjoyable song that I think I’ll come back to in the future.

Confess (ft. Killer Mike): Here, we see Logic talking about some of his habits that he isn’t very fond of, and how he won’t let those habits bring him down. The piano-driven melody is very head-noddy, and I love the very smooth percussion on this track. Logic’s rapid-fire flow is really strong as a whole, and lyrically, some interesting things are going on here. There are also some very luscious vocal melodies throughout this thing, and all of them combine to make this track really great. Killer Mike’s speech at the end certainly doesn’t hurt either. Great song!

Killing Spree (ft. Ansel Elgort): Logic talks on this track about how society is so connected all the time, specifically to social media and technology, and how we need to put down our phones and live in the moment. Again, the production on this track is very grand and upbeat, and Logic’s flow is really strong, though I don’t really find the hook all that memorable on this one. And while featured artist Ansel Elgort’s vocals sound nice, I can’t help but feel like he’s trying to do a Post Malone impression. Still, it’s definitely a decent track that might grow on me with some repeat listens.

Take It Back: I really like the transition on this track from the last one, and once again, I think Logic’s rapid-fire flow is really strong and it fits nicely up against the kind of dark instrumental on this one, but I feel like the hook on this one is not as strong as some of the others on the album. And I also kind of get what people aren’t liking about the album from this song because while Logic is definitely charismatic and has the right idea in making an album with a huge political statement, I feel like it just feels like he’s bonking us on the head with the same ideas throughout (doesn’t help that he is literally repeating the same bars at several points). And while it’s certainly not bad to ask for the things he’s asking for (I think we can all use a little PLP), it feels a bit repetitive and it comes off as kind of preachy.

America (ft. Black Thought, Chuck D, Big Lenbo and No I.D.): A more full-blown political statement, Logic spends this track talking about Donald Trump and, even Kanye West, rapping over a dark but still up-tempo instrumental with a very braggadocio but catchy hook and some clever lyrics on his verses. Black Thought and Chuck D come through with some really strong verses as well, and the song as a whole is so head-noddy and so upbeat, it’s easy to forgive any potential preachiness in the song. No I.D. and Big Lenbo also provide some verses late in the song, and they add to a song that already has some great flow throughout. Definitely really enjoyed this one!

Ink Blot (by Juicy J): This song talks about a rapper who always discusses materialistic possessions, even though he really has no desire to, and the track features Juicy J, which…I should address the elephant in the room, yes, Juicy J has a line on this thing where he says “kill yo’ motherfuckin’ self” to people on social media, and while I understand that they wanted to portray the ignorance of people that put on a face for social media, I do think it’s a hypocritical line, especially given that a song about suicide prevention is on this album. Already, not a very good look. That line aside, while the track has some cool things going on sonically, I don’t really care much for the hook on this one, and Juicy J’s performance, while energetic, doesn’t really save this very short cut from feeling like it’s lacking in something.

Mos Definitely: Another track that delves a bit into the “Black is Beautiful” message, Logic’s flow is once again amazing, the production is very grand and the drum beat is nice, and he’s definitely got the right idea going with this song in preaching that “Black is Beautiful” (because it is), but again, I honestly can’t help but feel like he once again just comes off as a bit too preachy on here. I’m all for music that spreads a social message and makes a bold statement, but right now, it kind of feels like it’s not really making a bold statement: it feels like it’s just repeating itself over and over again. Definitely not the worst on the album, but I feel like Logic could do so much more with his messages throughout this thing.

Waiting Room: This is not a song. This is a nearly 5-minute skit between Atom and God where God discusses reincarnation with Atom, while Atom asks God several questions about life in general. I honestly have to wonder what Neil deGrasse Tyson thought as he was reading through some of the lines on this thing because this is some wild stuff on here. Either way, it’s an overly-long skit, and while it’s well-acted, it’s not particularly entertaining. And the only reason I’m laughing at it is out of pity because it’s just so baffling. I will give it a shoutout for so perfectly leading into the next song, but otherwise, it’s definitely one of the weaker parts of the album.

1-800-273-8255 (ft. Alessia Cara and Khalid): One of the biggest hits of 2017, and arguably one of the most impactful songs of 2017 for how much it raised awareness for suicide prevention (in fact, 1-800-273-8255 is the number of the National Suicide Hotline, please call them if you are battling suicidal thoughts and you feel you have no one to talk to, they will help), the song itself is still quite enjoyable even after almost a year. It’s plenty emotional, and there are really some great vocal performances from Logic, Alessia Cara, and Khalid on this track, and I can see why it’s been so impactful. It’s a song that’s stuck with me, and I still consider it one of my favorite songs on this album. Part of me kinda wishes it ended off the album because then it would be even more powerful than it is, but either way, great track!

Anziety (ft. Lucy Rose): A track that delves into anxiety (which is something I was personally interested in, as someone that battles with anxiety), Lucy Rose provides some very pretty vocals on the intro, and the instrumental is bright, lush, and gorgeous. Logic’s flow, as always, is on point, and I feel like I related to this one a lot lyrically. It’s definitely one of the more moving songs on the album for me, and given his speech at the very end, I feel like it’s definitely a really personal song that came from the heart. Definitely one of my favorite songs on the album.

Black SpiderMan (ft. Damian Lemar Hudson): Logic returns to the theme of being oneself after focusing the last few tracks on anxiety and suicide, and he raps over a piano-driven, up-tempo, kind of soulful instrumental. The hook on this one is definitely quite head-noddy, and I definitely appreciate Logic’s confidence and fantastic flow throughout this cut. And this track is one of the few examples where Logic repeats himself, but keeps things interesting nonetheless, largely thanks to the musical merits of the song (Logic’s flow, the up-tempo beat, and the bright instrumentals). Singer Damian Lemar Hudson also provides some vocals on the track, and he does sound nice overall. Good track!

AfricAryaN (ft. Neil deGrasse Tyson): I was excited when I heard this previewed on the “Bobby Tarantino” mixtape, and then I saw that it was a 12-minute track, gulped, and wanted to run for my life. Then, as I read through the lyrics and saw that Logic once again talks about his biracial background (something he brings up quite a bit on this record), and I only feared even more. And then I listened to the song, and admittedly, I do like some of the things that are going on here sonically, and I once again love Logic’s flow. Vocally, there are also some really pretty moments on here as well, from both Logic and John Lindahl. However, I can’t shake the feeling that Logic just sounds like he’s repeating himself too much on this very bloated track that didn’t really have any business being 12 minutes. This isn’t like Kendrick Lamar’s “Mortal Man,” where it’s 12 minutes, but there’s still something interesting to look forward to in Kendrick’s conversation with 2Pac, this is an overly-long track with another skit that’s no more entertaining than the last few, and a J. Cole outro that just feels out of place, unfortunately. Not a terrible track, but not the best end to the album.

Overall, with “Everybody,” Logic takes on the idea of making an album with a social/political statement, and I have to say he’s only marginally successful on this record, in that some of the concepts feel undercooked. Most of the album honestly feels like him bonking us over the head with some of the same themes throughout, and part of me wishes he further developed the mental health angle he had going on tracks like “1-800-273-8255” and “Anziety” a little bit more to make the album feel a little bit more varied. Beyond that, the whole storyline between Atom and God just feels like an unentertaining throw-in without any real purpose. So, all in all, Logic has the right idea on paper, but not necessarily in execution, and all in all, he doesn’t seem to do enough with said idea, making it feel like he’s repeating himself a bit.

Admittedly, though, despite this feeling of him repeating himself, Logic consistently shows throughout the album that he is still a rock-solid rapper and lyricist with an ear for good production, which is good enough to keep the record afloat. The songs themselves are still plenty enjoyable and a few of them are quite meaningful, and there’s plenty on here that are worth connecting to. Is the album for everyone? No, not at all. Does it fully realize all of its concepts? Nope, unfortunately. Is it messy? Sure. Is it still worth a listen? Yeah! Logic’s musical skills are still on full display here, the only real issue is that some may find it a bit too preachy. Even with that, it’s a pretty enjoyable album, and even if you’re not interested, it’s worth listening to because, given its polarizing nature, it’s worth seeing what side of the fence you sit on.

And if you don’t like it, at least there’s “Bobby Tarantino.”

Favorite tracks: Hallelujah, Everybody, Confess, America, 1-800-273-8255, Anziety, Black SpiderMan

Least favorite tracks: Take It Back, Ink Blot, Waiting Room

Rating: Good

Logic "Bobby Tarantino" Mixtape Review

In the spirit of the rumors of Logic’s supposed next mixtape “Bobby Tarantino 2” coming soon, I wanted to take a look at a few of the rapper’s recent projects in preparation for that, starting with the first “Bobby Tarantino” mixtape from 2016.

Logic is a Maryland rapper that’s been around for quite some time, and he recently gained fame for what was one of 2017’s biggest (and arguably most impactful) singles, “1-800-273-8255.” This was a mixtape he dropped back in 2016, and while I wasn’t interested in doing a marathon of Logic’s records, I thought it would be interesting to look back at this (since the rumored new project is obviously “Bobby Tarantino 2”), as well as last year’s album “Everybody,” since I had been interested in covering that one for some time now. So, without further ado, let’s get into this record, shall we?

illuminatro: Essentially just an intro that transitions into “Flexicution,” this just has Logic speaking backward about wanting to have fun with this record and not think too much about it. It’s nothing I’ll come back to in the future, but it does flow nicely into the next track.

Flexicution: A very braggadocious track, Logic boasts his success over a really loud, electronic drum beat. It’s definitely not lacking in energy, and while I wasn't all that crazy about the hook at first, it's definitely grown on me, and I do like Logic’s flow a lot, especially on the second verse. Sure, his lyricism might be a bit basic, but he clearly shows here that he has great technical rap skills, and I think that’s what’s gonna keep me coming back to the song.

The Jam: Logic takes some time here to compare himself to Kanye West and Beyoncé over another pumping electronic beat. He once again sounds really confident over this loud beat, his flow is pretty amazing, and even though his vocals on the hook are drowning in autotune, he does sound really good throughout. Even if he repeats some of the same bars on this one, he just sounds so confident and excited, and the song is too fun and energetic to ignore.

Slave II: Another electronic beat accompanies this far darker song where Logic talks all about how he wants to get his name out there. Logic starts off sounding a little more melodic, singing instead of rapping, but around the second verse, we get a big feel change that sees him rapid-firing lyrics about how well his previous album did. It’s definitely not my favorite track on the mixtape, but I do appreciate Logic’s confidence on the track, and the overall darker instrumental melody keeps this one interesting to me.

A Word From Our Sponsor: Logic goes into his Marty Randolph alter-ego on this interlude, calling "Logic" in an attempt to get him to sell his soul, while YaLocalWhiteBoy (a close friend of Logic’s) talks about how much success Logic has seen and how his next album is gonna be so conceptual and all that. It’s a silly little skit, but at least it’s pretty entertaining. I don’t see myself coming back to it all that much, but hey, it at least got a few chuckles out of me, so there’s that.

Wrist (ft. Pusha T): The only song on this record to have a feature (that being Pusha T), this one also has a kind of dark feel to it, thanks to the choir-driven intro and the subject matter (the song is a fictional story about a drug lord reflecting on his personal choices and morality). As always, I love Logic’s very loud, confident demeanor through this track, and I think Pusha T’s verse is pretty solid as well. Really energetic and enjoyable track, I think I’ll definitely come back to it in the future.

Super Mario World: No, this track isn’t called “Super Mario World” because it references the game a lot, it’s called that because it’s got a very 8-bit instrumental melody that, as a gamer, I particularly love (even though it should be 16-bit to match the Super NES game of the same name). It’s so bright and fun, and it really adds to the general playfulness of the song, from the lyrics to Logic’s flow to the rather basic hook (which he even jokes about), it feels like this song was meant to be a little more silly, and it works for that! I really like this one a lot!

Studio Ambience At Night: Malibu: A little tease for the track “AfricAryaN” from his next album (which I will cover, of course), I like the kind of unconsciousness of this track, where it kind of feels like someone just put a microphone/camera somewhere in the studio and hit the record button to preview the track. Obviously, I feel like I won’t come back to this track after I review the next album and listen to “AfricAryaN,” but it still has a cool vibe to it.

44 Bars: A song where Logic literally spits 44 bars, talking all about his come-up and determination to keep his fans happy, Logic remains as confident as ever on this track, and while it’s not my favorite here, I do think his flow remains solid. My only real gripe is that it does feel like he’s kind of repeating himself at this point and kind of reminding us once again that his last album did so well. Still, his performance is so strong and I really loved his storytelling, which helped this song grow on me with repeat listens.

Slave: Oddly enough, Logic puts “Slave” after “Slave II.” Figure that one out. But either way, it’s an interesting track to me because Logic spends it talking less about his success, and more about his life as a biracial man. And I like the slightly brighter sound on this one, Logic’s vocals, even if they are slightly autotuned, sound very nice, and his flow remains as strong as ever. It’s a track that I feel deserves to be put after “Slave II,” and I think it’s a really good song overall.

Deeper Than Money: The final track on this tape has a kind of strange, off-beat percussion section which kind of gets a little annoying to me. And while I do like the subject matter, and how the first half of the song talks about wanting money to be happy, where the second half talks about things that make you happy beyond money, I do think there are a few corny moments on this one. There are some pretty decent bars hidden behind those corny moments, but the percussion sections makes it hard for me to love it. I kinda wish that “Slave” ended the mixtape, and not this.

Overall, though, I did dig this project. Logic does spend quite a bit of the mixtape flexing, which could be a bit tiring to some, and that shows on a few of the tracks, but I think that, given that it’s a project that’s more of a holdover, it’s definitely a well-crafted tape. There’s a lot of really memorable tracks here, I like Logic’s overall braggadocio on this one, and his flow is very strong. Given that this was my first true introduction to Logic (outside of “1-800-273-8255,” of course), I’m very impressed with his technicality, and even though I’m well aware that his next album “Everybody” will be far different from this, his general abilities as a rapper make me very interested in checking that record out.

That’ll be my next review, so stay tuned for it!

Favorite tracks: Flexicution, The Jam, Wrist, Super Mario World, 44 Bars*, Slave

Least favorite tracks: Deeper Than Money (if I had to pick one)

Rating: Excellent

(*An asterisk next to a “favorite track” indicates that the track wasn’t initially one of my “favorite tracks” when I first wrote the review. If a track has an asterisk next to it, it means the song wasn’t initially a favorite of mine, but it grew on me, and the text for the song may have been edited to more properly reflect that.)

Quinn XCII "The Story of Us" Album Review

It’s been a LONG time since I’ve done an album review as per request. Generally speaking, unless it’s a request to look at an album that’s extremely big that I probably would’ve reviewed without request (like when I was asked to look at Kesha’s “Rainbow”), I don’t really do that many requests, partly because I don’t get them too often, but also because the first album I received a request to review (A$AP Mob’s “Cozy Tapes Vol. 2: Too Cozy”) still stands as possibly the worst album I’ve reviewed to date. However, I received this request in a personal message from a very close friend of mine, so I’m gonna do it: it’s time for a review of the new Quinn XCII album “The Story of Us.”

Quinn XCII is an indie-pop artist hailing from Detroit, who seems to be on the rise lately. In 2015, his debut EP “Change of Scenery” gained some traction on streaming services, as did his second EP “Bloom,” and his song “Kings of Summer” became a huge hit with nearly 40 million streams on Spotify. In fact, for a non-mainstream artist, he has garnered quite a bit of popularity on streaming services, with at least three songs that have hit over 30 million streams, and over 3 million monthly listeners on Spotify.

Knowing little about him, the impression I’m getting thus far is that this is his first full-length “album.” Though Spotify calls “Bloom” an “album,” I’ve heard elsewhere that it’s just an EP, and given that “Bloom” is only 7 tracks I’m gonna operate under the assumption that “The Story of Us” is his first album. He first dropped this in 2017, but just last week, he released the “Deluxe” version with four extra tracks, which is what I will be covering. As I said, I’m going into this with no idea as to what to expect, but I’m excited to see if this young, up-and-coming artist can really hit the ball out of the park. Let’s go song-by-song and find out, shall we?

Intro (Slow): A relatively light piano ballad about wanting someone even if they aren’t perfect, Quinn has a very nice singing voice, it kind of gives me a “Shawn Mendes meets James Bay” kind of vibe, and his voice fits nicely against the kind of light, clean, pretty instrumental melody. Not sure I’ll be breaking the replay button with this one, but it’s a nice start to the album that might have some potential to grow on me in the future.

Straightjacket: A much more up-tempo, bright track, this actually has some kind of darker ideas behind it lyrically, in that it’s about a person who acts a certain way in front of people, but is far different when no one is looking. Again, Quinn’s voice is quite smooth, and the bright electronic instrumental melody is really nice and head-noddy. Definitely had a lot of fun with this one!

Worst: An interesting track, in that it’s about two people actually working well in a relationship BECAUSE of their differences, there’s some really interesting lyrics on this track, I like the kind of subdued feeling on the verses, and even though the hook booms to the point where it could feel at odds with the rest of the song, I think it’s really ear-wormy and fun overall. Good track!

Flare Guns (ft. Chelsea Cutler): A song about having someone that your mind tells you that you shouldn’t call, but your heart tells you that you should call, as a young and hopelessly-romantic human being, I can relate to that quite strongly. Quinn’s vocals sound very pretty and nice overall, and even if the beat on this feels like very standard electronic stuff, it’s still head-noddy and bright enough to entertain. The song also features an artist named Chelsea Cutler and she brings some nice vocals to the table while meshing pretty well with Quinn throughout the song. Not one of my favorites on the album, but I think this one will definitely grow on me a lot in the future.

Fake Denim: Hearing that Quinn referred to this as the “poor man’s ‘Gold Digger’” actually kind of worried me, because while I enjoyed “Gold Digger” before, I wondered if him calling it the “poor man’s” version of it indicated a lack of confidence in it. As it is, there’s a decent bit to like about the track: lyrically, it is kind of like “Gold Digger” in that it talks about spending more money than you can/should on someone that may not actually care about you, and I like the bright instrumental melody and smooth percussion on this song. The hook isn’t one of the best on the album, but the song itself is bright and vibrant enough to keep things fun. This also might grow on me in the future.

Don’t You: Described as a “Jack Johnson meets hip-hop” song by genius.com, I once again like Quinn’s smooth, pretty vocals, but I just find the hook and hip-hop beat on this one to be a bit boring. I dig that Quinn doesn’t want to stagnate the album by going for songs that all sound the same, but this track just isn’t doing much for me. Maybe I’m also not connecting as much to the lyrics, either? I’m not sure, but right now, I just find the song to be not as strong as some of the previous ones.

60 Seconds: Another more hip-hop flavored song about having a really bad morning (something I’m sure many of us can relate to), this track has some really interesting ideas going on, mixing a hip-hop beat with a really solid guitar track, and as always Quinn has some very smooth vocals, along with some decent rapping throughout the verse. I’m not all that crazy about the hook on this one, but I definitely think it’s a fun, enjoyable song overall.

Walls: Another really bright, kind of trumpet-heavy track, the song has a kind of standard, but still really charming and fun electronic instrumental, and I really love Quinn’s vocals throughout the track. He continues to sound really smooth and pretty, and he shows off some really solid soul on the hook, which I’d say is honestly one of the best on the album. Even though it ends a bit abruptly, I really like this track, and I think I’ll be coming back to it quite a bit.

Tourist: Here, Quinn talks about moving to Los Angeles and enjoying the lifestyle, but not wanting to get himself too immersed in it. I like the slightly darker and, for lack of a better word, swingier feel of this song, and I like how danceable the beat feels on this one. Quinn himself has some fun with his flow throughout the song, and again, his vocals are soulful and smooth, and they definitely fit nicely up against the instrumentals on this one. Really good track!

One Day At A Time: On this track, Quinn discusses the future, and what it’s like on the last night with your romantic other before leaving them and moving on to different things in life. He does this over a very bright instrumental, which I definitely do like and I think it’s nice on the ears, and while I initially thought it was at odds with the subject of the song (uncertainty), the fact that the lyrics are a bit more positive, which I think justifies the brighter instrumentals for me. Quinn’s vocals are extremely fun and soulful on this one, and the hook is really fun, maybe one of my favorites on the album. I think I’ll definitely come back to this one in the future.

Always Been You: The end of the non-Deluxe Edition of the album, Quinn talks about a person that’s always been there for him against a more guitar-heavy instrumental melody. I can’t put my finger on what it is, but this song kind of brings me back to my childhood. I feel like this sounds like a few songs I heard when I was younger, but just with a slightly more electronic twist. Quinn’s vocals are very nice, even if the hook isn’t one of the catchiest on the album. Might still grow on me in the future, a pretty solid track.

Candle: Spotify lists the Deluxe Edition of the album as two separate discs, so this basically serves as the beginning of the Disc 2, Deluxe Edition-exclusive tracks. It’s a very upbeat song driven by its piano melody and overpowering drum beat, and once again, Quinn’s vocals are very smooth. It does kind of feel like a number of the other tracks on here, but it’s still charming enough to be enjoyable on its own.

Iron & Steel: Another track about a relationship that ended (which Quinn regrets), the instrumental on this is pretty light but still colorful and enjoyable enough to be head-noddy. Quinn’s vocals once again sound nice, though I’m not too struck by the hook on this one. Even if it’s not one of the strongest on the album, it’s still a pretty entertaining song.

What The Hell Happened To Us (ft. Kailee Morgue): I’m a sucker for the kind of string-heavy intros and instrumental melodies that songs like this have, so this had my attention from the beginning. And it gives me so many good vibes! I hear this and it reminds me of so many other songs I’ve heard before. And in this case, I mean that in a good way, in that it combines them together to make something really vibrant, exciting, and danceable (I also love how the lyrics specifically say that this girl Quinn is talking about is like a Wes Anderson film). Kailee Morgue also comes along and provides some really pretty, kind of subdued vocals, and her chemistry with Quinn is rock solid! Really loved this track!

Before It Burned: Ending the album as a whole, we have a track that mixes a more bass-heavy intro and a pretty decent cowbell beat (I just really wanted to mention the cowbell) with a kind of lighter, more subdued but still bright instrumental. As always, Quinn’s vocals flow nicely on this one, and I find it interesting that the song kind of suddenly ends because it feels like it closes the album off in a kind of sad way. Seeing as how this is a journey of the sad endings in a relationship, this feels like it finishes things off appropriately. Not one of my favorites, but it’s certainly a nice ending to the record.

All in all, I'm happy to say that I did enjoy this record. As I’ve said before, I’m usually very cautious going into reviews that were requested, but I definitely walked away from this thing having enjoyed myself. Quinn XCII has a very smooth and pretty voice, and I think he definitely shows throughout the album that he can blend a lot of different styles very nicely. I believe I heard that he’s mentioned that Jack Johnson was a big inspiration for him, and I definitely see it; this kind of feels like what would happen if Jack Johnson wanted to go more pop, and experimented with some electronic and hip-hop crossovers instead of simply making the same acoustic ballads we hear from him all the time. The result is that Quinn XCII not only has a grasp on how to make a pop album, but he also has a solid understanding of how to make a vibrant, entertaining, and snappy pop record.

Of course, the record as a whole is not without some drawbacks; while Quinn is a rather solid lyricist, I definitely feel like a number of the songs kind of blend together in regards to their overall concepts. A lot of what’s here seems to be Quinn talking about love and relationships, and while that’s not a totally bad thing, it might turn off a few listeners who might find him to be slightly one-dimensional. Still, I definitely think Quinn has a good grasp on his sound and what he should be doing, and this album definitely proves it. Is Quinn XCII a pop star in the making? Only time will tell, but if the man blows up and becomes a huge, worldwide-selling artist, he’d definitely get my vote of support!

Keep up the good work, Quinn, I’m rootin’ for ya!

Favorite tracks: Straightjacket, Worst, Walls, Tourist, One Day At A Time, What The Hell Happened To Us

Least favorite tracks: Don’t You

Rating: Good