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

KIDS SEE GHOSTS "KIDS SEE GHOSTS" Album Review

It was nice having a small break from album reviews and being relatively caught up on what I wanted to listen to, but now it’s right back into the grind: it’s time to review the new KIDS SEE GHOSTS album…it’s self-titled, so “KIDS SEE GHOSTS.”

KIDS SEE GHOSTS is a newly formed hip-hop supergroup consisting of two very well-known artists in Kanye West and Kid Cudi, both part of the GOOD Music label. Kanye needs no introduction, I’ve already covered two of his albums (including his most recent one, “ye”), and you’ve probably heard even more from him than I have. Kid Cudi, however, is someone I haven’t talked about much: in my reviews, he’s only made small cameo appearances on those two Kanye albums, and outside of his widely-known 2008 single “Day ’n’ Nite,” the most experience that I have with Cudi was listening to a small snippet of the title track from his 2015 album “Speedin’ Bullet 2 Heaven” but quickly turning it off because it was starting to make me physically ill. That’s how bad it was. And NO, I’m not gonna review that album anytime soon. Unless you pay me, I’m not putting myself through it. Much kudos to anyone that had to sit through it even once, and MORE kudos to those that had to sit through it multiple times.

I’m sorry, I’m digressing. Anyway, this was an album I wasn’t sure if I would be reviewing. On one hand, Kanye’s last two albums (the ones I reviewed) were solidly enjoyable and I had some fun with them, so even despite his strange persona and recent media brouhaha, I enjoyed “ye” enough that I wouldn’t mind covering him again with this project. On top of that, like the previous GOOD Music releases of “ye” and Pusha T’s “DAYTONA,” this one is jumping on the whole “short record that’s actually an EP masquerading as an album” trend, seeing as this is seven tracks and 23 minutes. However, as I mentioned earlier, I’ve never been too interested in Kid Cudi (even if he's had an influence on MANY of the artists I listen to), and given what I've heard about his recent output, part of me did have some worry that Cudi could potentially bring down the album to the point where the duo would feel like less than the sum of their parts. Still, early reactions to it seem pretty positive, so maybe this will keep up GOOD Music’s current trend of putting out solid (yet very short) albums. Let’s find out, shall we?

Feel the Love (ft. Pusha T): To start things out, Kanye, Cudi and Pusha T (yep, he’s here too) talk about how they feel love around them, even though there are several loud gun noises around them. Cudi’s vocals on the hook are jump-scare worthy (not that they sound bad, they’re just very weird and out-of-nowhere), but Pusha T’s verse is pretty strong as usual. The production is very minimal (there’s a cool drum beat at one point), but Kanye’s gun noises, while energetic, are pretty laughable. I feel like he wants to enter meme-territory with the gun noises, and I couldn’t help but laugh at them. They meshed well with the beat, but they were just strange. Overall, it’s got some good things going on, but it’s definitely a pretty flawed track. I want to say it’ll grow on me because of the production, but “growing on me” would require me to sit through Kanye’s gun noises a few more times and try not to laugh at them. Wish me luck.

Fire: Here, Kanye and Cudi talk about the failures they’ve had in life, and they basically talk about how said failures wouldn’t stop them, insisting that they “love all your shit talkin’.” Respect for actually liking the shit-talk. I like the kind of swingy, tambourine-driven beat on this one, and I really dig Kanye’s opening verse and his flow. It’s catchy and sticky, and the same could be said for Cudi. Sure, the both of them sound a little bit like they’re half-asleep here, but I must say they at least bring enough energy to not feel like they’re completely sleepwalking. Overall, yeah, I dig it. Pretty good track.

4th Dimension (ft. Louis Prima): Okay, hold on hold on hold on, so I was looking at the Genius.com entry for this song, as I tend to do, and apparently they said that one of the topics Kanye and Cudi talk about on this one is “accidental anal sex.” Excuse me? What in God’s green Earth is “accidental anal sex?” I may not know a ton about sex, but I’m pretty sure no one engages in anal sex, and then claims that it was an “accident.” Wow, that’s something. Either way, I didn’t really take a lot of time to think about the whole “accidental anal sex” thing because I was enjoying myself so much with the song. The duo picked a really strong sample to build this one around ("Someday" by Shirley Ann Lee), and it’s definitely got a very sticky, fun beat to it. Kanye’s verse honestly reminded me of “the old Kanye,” and Cudi’s verse featured some really great flow as well! Really like this one!

Freeee (Ghost Town Pt. 2) (ft. Ty Dolla $ign): The follow-up to the song “Ghost Town” from “ye,” this track sees Kanye and Cudi continuing to discuss the idea of self-mastery and basically defying boundaries and criticisms set on them by others. Good to see them getting away from “accidental anal sex” on this one. This one’s got a more upbeat feel to it, and once again, the sampling of "Stark" by Mr. Chop allows them to build a really fun drum beat. Even so, I personally don’t really dig a lot of the vocal performances here. Kanye’s performance on the hook is somewhat silly, Cudi doesn’t really get enough time to do much on the track, and not even guest vocalist Ty Dolla $ign can bring much strong energy. Definitely a song that could’ve been better.

Reborn: On this one, Kanye and Cudi talk about how they’ve been through so many personal issues lately, but that they are going to learn from their past mistakes, rise above them, and keep moving forward. Good message, and they talk about this over a very nice, moody instrumental with a fun, kick drum-driven beat. Cudi’s vocals are very nice here, and the hook is extremely sticky as well. Kanye once again brings his A-game on his verse, with great flow and energy, and I also like the vocal interplay here: where Kanye just raps through his verse, Cudi’s verse (and presence as a whole, for that matter) is more melodic and sing-y. They work well together and, thus far, they really bring out the best in each other.

Kids See Ghosts (ft. Yasiin Bay): I’ve said this before, but it doesn’t get more meta than self-titling your debut album, and then having a title-track on said self-titled debut album. Thus, we have the track “Kids See Ghosts” on the group KIDS SEE GHOSTS’ first album “KIDS SEE GHOSTS.” Meta, people…meta. Anyway, this song sees Cudi becoming introspective, while Kanye discusses his competition over a more catchy, bouncy beat. Yasiin Bay comes in as a feature, and he brings some decent, if not overly exciting, vocals. Kanye’s verse steals the show here, from his energetic flow and performance to his confident lyrics, but Cudi’s verse does feature some nice, if very minimal, vocals as well. Overall, the song really works in spite of its flaws, and I can see myself coming back to it quite a bit in the future.

Cudi Montage: This song samples Kurt Cobain’s “Burn the Rain,” which you’d think would be shocking if you didn’t know that Cudi’s “Speedin’ Bullet 2 Heaven” was actually an alternative rock record. All that said, though, anytime I connect/relate a song to anything from “Speedin’ Bullet 2 Heaven,” my stomach drops a bit, so I definitely went into this closing track a bit scared. Luckily, the song sees Cudi providing some really fast-paced (and really great) flow on his first verse, as he raps over a relatively head-noddy beat about the damage caused by gang-based violence. Once again, Kanye’s verse is really strong, from the rapid-fire flow to his overall charismatic and energetic performance, and he does have some nice vocals on the hook. Very good end to the album!

Overall, I’m gonna try to keep this sum-up a bit short, because a lot of my thoughts on this record are similar to my thoughts on Kanye’s “ye,” which I reviewed a week ago: it’s an enjoyable project that definitely surprised me a bit, but I do wish it was a bit longer. Kanye and Cudi really bring out the best in each other, as Cudi brings some nice, melodic vocals to the record, while Kanye brings great rap flow and solid lyricism, and much like the recent wave of Kanye West-produced albums (Pusha T’s “DAYTONA” and his own “ye”), the production on this record is strong. I was worried that Kanye would end up carrying Cudi on this one, and while I did often gravitate a bit more to Kanye’s verses on the album, I don’t think Cudi brought the record down at all or made the duo feel like less than the sum of their parts. He still played his part to make it enjoyable and make the album work.

Once again, though, the only real issue I have is that it’s too short. While keeping an album from being over-stuffed is a great thing, making a record under a half-hour and claiming it to be an “album” and not an “EP” indicates that you have some pretty high standards for the record and that every song on the “album” is fantastic. Unfortunately, not every song is, and while certain tracks work in spite of their flaws, others just don’t (off-topic, but I think this is the first time in any of my reviews where every single song on an album made it to the favorites AND least favorites, and no song was left off one or the other. I dunno, I just found that interesting). Still, it is an enjoyable project, especially considering it’s their first as this “supergroup,” and I do think that Kanye and Cudi really do have something great going on as a duo. I’m very excited to see what other KIDS SEE GHOSTS projects will drop in the future.

Favorite tracks: Fire, 4th Dimension, Reborn, Kids See Ghosts, Cudi Montage

Least favorite tracks: Feel The Love, Freeee (Ghost Town Pt. 2)

Rating: Good

Kanye West "ye" Album Review

Well, here it is, I’m sure this is the album everyone’s been waiting for, and the review anyone that reads this blog has been waiting patiently for (thank you for waiting, by the way), it’s time to take a look at the new Kanye West album “ye.”

Rapper/singer/producer/entrepreneur/life coach Kanye West is back with his eighth studio album (although, like Pusha T’s “DAYTONA,” this one is more like an EP masquerading as an album), and it’s the follow-up to his 2016 record “The Life of Pablo.” Since the release of that album, Kanye has been through some turbulent times: it started with the cancellation of the end of his Saint Pablo Tour (resulting from his frequent no-shows, rants, and cut-short performances), continued with his admittance to the UCLA Medical Center for psychiatric observation and an 11-month break from social media, and came to a height upon his return to social media, where a series of at-first innocent “life coach-esque" tweets turned into controversy. From his support of Donald Trump and pictures of himself wearing the “Make America Great Again” hat, to his claim that slavery “sounds like a choice,” Kanye seems to have done whatever he can to make sure people were talking about him, and he kept that in mind when he released the early, non-album singles “Lift Yourself” and “Ye vs. the People.”

Now, I’m walking into this album extremely conflicted because, on one hand, I did review his last album “The Life of Pablo” and I actually found it to be pretty good. Sure, it was inconsistent, messy, and flat-out unfinished even in its “final form,” but there were quite a few tracks from it that I really dug that I continue to go back to, like “Wolves,” “Saint Pablo,” and, especially, “Ultralight Beam.” On the other hand, though, I can’t really say I was all that excited to listen to this record, because with Kanye’s recent media debacle (and after hearing “Lift Yourself,” with its poopy-di-scoop lyrics and “Ye vs. the People,” which was honestly a hideous attempt for Kanye to defend himself), the less I have to talk about Kanye, the better. Still, the album is just 7 songs long, so Kanye is definitely keeping things concise this time around. That said, he is under a lot of pressure here, because at just 7 songs and 23 minutes, he leaves no room for error and every track needs to be perfect. Let’s see if he delivers on that, I guess:

I Thought About Killing You: Okay, so I heard that this thing was gonna have some controversial lyrics, but damn, Kanye starts off his album with some death threats? Okay, I’m just gonna slide away…okay, no, I can’t, but still, Kanye actually seems to talk about killing his old self on this track, as he discusses his mental state, his opioid addiction, and his recent controversial comments. The production is very atmospheric, minimal, and dreamy on this one, and I do find it interesting that Kanye has a pitch-shift on his voice in the intro, to further add to the album's theme of bipolarity. I’m not crazy about his flow when he actually starts rapping, and I think it’s kinda boring, but it does have a good vibe to it and it’s a nice starter to the album.

Yikes: Here, Kanye talks a bit about prescription drugs and addiction, and he even name-drops artists like Michael Jackson and Prince (legendary artists whose deaths resulted from overdosage in prescription drugs) to make a point about his own addiction to them. I think the hook on this one sounds very catchy, it reminds me a bit of “Wolves,” and Kanye once again proves that he can create some really interesting, ethereal production. It might not seem like a traditional banger based on the lyrics (special shoutouts to the line “Russell Simmons wanna pray for me too / I’ma pray for him 'cause he got #MeToo’d,” I thought that was a pretty hard bar), but I like how Kanye also explores his bipolarity on this cut by feeling frightened but also talking about why he loves himself. Definitely a good track.

All Mine: Something of a “tell-all” track, Kanye actually calls out several artists that have cheated on their significant others. Bold. The song has something of a church-organ intro with a pretty catchy hook from Valee and a fun first verse from Ty Dolla $ign. And while Kanye still comes through with a cheese bar every once in a while (“I love your titties, 'cause they prove / I can focus on two things at once” and “Let me hit it raw like fuck the outcome / Ayy, none of us would be here without cum” are particular lowlights for me), I like the minimal approach to the production on this one and Kanye’s energetic vocal performance is great, too. It’s not my favorite song on the album, but I do think it has a lot of potential to grow on me, it’s pretty solid.

Wouldn’t Leave: Kanye touches on his “free-thinking” on this track, talking about his outburst on “Sway in the Morning” and his “slavery was a choice” comments, using them as a point to prove that he’s thankful for his wife for sticking with him even after that ridiculous outburst. Honestly, the fact that he’s still trying to defend that as “free-thinking” is baffling, but either way, Kanye brings in PARTYNEXTDOOR, Jeremih, and Ty Dolla $ign to provide some very pretty vocals throughout the song, and they all sound nice up against the very minimal, ethereal production on the track. I also really like that Kanye talks about being loyal to Kim and makes something a tribute to the women that ride for their men even in the worst of times. It’s a really soft track that shows us a slightly different side of Kanye than most of his other work, and I like it all the more for that.

No Mistakes: Kanye reflects on the turbulent times I mentioned in my preamble, while also taking more shots at Drake and the “Duppy Freestyle” that he put out in response to Pusha T’s “Infrared.” The production on this one is far grander, and the song features additional vocals from Charlie Wilson and Kid Cudi, whose vocals are somewhat drowned out by the very loud production. Kanye’s flow is solid as always, but I do wish he had a little more time to really talk on this track. His verse just honestly felt unfulfilling to me, and I would’ve liked more presence out of him. Definitely not a bad track, but certainly not the best the album has to offer.

Ghost Town: Something of a reference to Kanye’s upcoming collaborative project “KIDS SEE GHOSTS” that he and Kid Cudi are dropping next week, this track has a really interesting sample of “Someday” by Shirley Ann Lee. PARTYNEXTDOOR comes through with some solid vocals here (even if he kinda mumble sings through his intro), and Cudi’s refrain isn’t too bad. Kanye’s verse steals the show, with a very nice vocal performance and good flow that meshes nicely with the pretty moody, somewhat spacey instrumentals. 070 Shake shows up here and she brings a pretty charismatic vocal performance on the outro as well. This track gives me a vibe that reminds me a bit of “Saint Pablo,” and I really dig it.

Violent Crimes: Ending the album off, Kanye talks about how his perspective on women has changed since the birth of his daughters North and Chicago, and he raps about how he fears for their futures and worries about how they will be treated. Just as 070 Shake closed out the last track, she opens up this one with a pretty nice, autotune-assisted vocal performance that meshes nicely with the ethereal, moody instrumentals and minimal drum beat. I also like Kanye’s very emotional performance on this cut, as it genuinely feels like he’s talking to his daughters and wanting to see them be happy. Ty Dolla $ign’s vocals on the final hook, and Nicki Minaj’s outro add some nice, extra layers to this track, and it’s a really great closer to the album.

Overall, if Kanye proves nothing else, it’s that he still has the musical chops after all this time. No, you may not agree with the things he says (I sure as hell don’t), and you may not feel inclined to listen to a new album from a man claiming that “slavery sounds like a choice,” but Kanye actually creates a really interesting record with “Ye.” It feels like he’s bearing his soul to some degree, talking a bit more about his insecurities and the things he has gone through in the time since releasing “The Life of Pablo,” and he comes through with some very beautiful tracks. He remains an interesting performer (even if he does come through with a few struggle bars here are there), and an even better producer, creating some very minimal, moody, and quite lovely instrumentals. And after how long “Pablo” was, it’s nice to see him focusing things down and not trying to bloat the album out too much.

That does, however, lead into one of my problems with the album, and the thing that really stops it from being an "Excellent" record: while I’m glad he cut down on the runtime compared to “Pablo,” I do think he cut it down just a little too much. I came out of it enjoying quite a few of the tracks, but I did feel just a little unfulfilled, and I wasn’t all the way “wowed” with it. I feel like it’s because, as I said at the beginning, at just 23 minutes, you leave no room for error and every track needs to be perfect, and unfortunately, not every song is. There are a few cuts on here that are flawed, and unfortunately, a 7-song record doesn’t leave you too much room for flawed songs. Still, while I walked away from this album not quite “loving” it, I can say that it was a surprisingly solid listen, and I definitely think it’s worth checking out. Much like a lot of Kanye’s other records, I’m sure this is gonna be a polarizing one, so it’s definitely worth listening to at least to see which side you’re on. Me? It’s not gonna be one of my favorite records of the year, but given the media storm, the craziness, and the non-album singles “Lift Yourself” and “Ye vs. the People,” this could’ve been far worse, so I’m glad I enjoyed listening to it.

Nicely done, Kanye.

Favorite tracks: Yikes, Wouldn’t Leave, Ghost Town, Violent Crimes


Least favorite tracks: No Mistakes

Rating: Good

BØRNS "Blue Madonna" Album Review

As per a request from a friend of mine, it’s time for a review of the new BØRNS album “Blue Madonna.”

BØRNS is a Michigan singer, songwriter, and multi-instrumentalist who has been releasing a series of indie psych-pop projects since 2012. He released his first studio album “Dopamine” in 2015, and this right here is his follow-up album. He has also collaborated with artists like Lana Del Rey and Titanic Sinclair, the latter of whom is well known for his collaborations with Poppy, an artist I’m sure some of you are familiar with if you’ve been reading my reviews for a while. (I’M POPPY!) Poppy, we’ve talked about this, you can talk to my readers when I’m reviewing YOUR albums. (I’M POPPY.) No, I’m not saying anything bad about Titanic, I haven’t even met him. I’m just letting my readers know that he’s collaborated with BØRNS. (I’M POPPY.) Good. I’ll see you when you drop your next album. (I’M POPPY!)

Now, where was I? Ah yes, BØRNS is an artist I’m not all that familiar with. Again, this album is being reviewed because a friend requested it. So, I have nothing to expect going into it, and sometimes that can be a good thing, so let’s see if BØRNS delivers with this project.

God Save Our Young Blood (ft. Lana Del Rey): BØRNS kicks off his album with a song that sees him singing about youthfulness and the speed of life alongside Lana Del Rey. The song's got some very dreamy, beautiful electronic production, some really fun percussion, and very great vocal interplay between BØRNS and Lana. Being my first time hearing BØRNS sing, he’s got a very nice, light voice, and he and Lana mesh wonderfully together. This is a nice start to the album!

Faded Heart: Moving right along, BØRNS discusses mortality and romanticism over a much faster-paced instrumental. BØRNS has some more filtered vocals on here, and he shows a little more range on the track as well. Where his vocals were lighter on the opener, he gives us more charisma and energy on this one. I do like the drum-beat and the rocking guitars as well, and while I’m not all that in love with the hook here, I do think this is a very fun song and I definitely see the appeal of it.

Sweet Dreams: A much more nocturnal track, BØRNS takes things just a little slower on this one, with a very laid-back feel as he discusses dreams and lost love. The track is much more minimal in regards to its lyrical content, but that’s fine because it’s led by a groovy bassline and a beat with some very nice bounce to it. I also have to say that I think the song has one of the most captivating choruses on the record. It’s got a really great vibe to it, and the filters on BØRNS’ vocals serve to help him mesh even better with the production. Really digging this one!

We Don’t Care: Another more rocking, fast-paced track with a somewhat more eerie feel to it, this one’s definitely very snappy and it’s got a really great beat. BØRNS also brings another interesting vocal performance here (even though I think the hook could’ve been better), and the bassline on this one is extremely fun as well. Not one of my favorites on the album, but it’s definitely a solid, upbeat track that’s nice to nod your head to.

Man: A track where BØRNS proclaims that he wants to be someone’s man even if the world ends, this one’s got a more hi-hat-driven drum beat and also some really cool piano melodies. The hook is plenty fun, the song has a danceable vibe and BØRNS once again brings plenty of energy with his vocal performance. It’s a bright, poppy track with plenty of bounce and a great feel, and I’m really liking it!

Iceberg: Here, BØRNS talks about his belief that his lover is way out of his league, and that she’s too perfect for him. This one’s a bit more low-key than some of the others, with a more minimal instrumental and hook, but the song does gain some very funk-driven bounce around the midway point, and the bright synths and pounding drum beat really add to the fun factor of the song. And while the hook, as I said, is very minimal, BØRNS has some very solid vocal charm here that makes the track really work as a whole.

Second Night of Summer: Hey, now I’m kinda glad this review is coming right now because, hey, second day of summer…and it’s June..and summer’s kicking off...okay, I’m gonna stop now. Anyway, here, BØRNS mentions how not even the hot weather of the summer can distract him from how badly he is trying to forget about a certain girl. This cut has a somewhat more laid-back but still vibrant feel to it, and I love how BØRNS transitions from having slightly lighter vocals to exploding on the hook. The production is very easy-going and fun, and I definitely think it’s one of the stronger cuts on the record.

I Don’t Want U Back: A more emotional track with more moody production, BØRNS talks about a former lover who seems to have cheated on him and lied about it. The electronic beat on this one is really danceable and exciting, and the production is very dreamy, as are BØRNS' vocals. The hook is also very captivating and interesting, and I think this one is gonna get a ton of replays out of me in the future.

Tension (Interlude): A one-and-a-half minute interlude, this one sees BØRNS talking about a tension that he seems to have with a certain lover, one that leads him to ask said lover to “kick him to the side of the road.” Hmm, never really heard someone asked to be kicked to the curb in a song before. Interesting. Anyway, I actually find this interlude to be pretty damn sweet. I love the bright electronic production, it’s very danceable and vibrant and fun, and even though the track is very short, I think it really sticks and leaves a good impression. I can honestly see myself coming back to it in the future.

Supernatural: BØRNS questions the idea of external forces being an influencer on a song that has some very seductive synths and cool guitar riffs. The song is relatively upbeat but still very atmospheric, and BØRNS does bring the goods with his vocals here. My only big problem with the song is that I’m not all that crazy about the hook, but I do think this cut has a lot of potential to grow on me in the future.

Blue Madonna: Lana Del Rey actually returns to provide some vocals on this very seductive song, as BØRNS pictures a lover running back to him, and him making her feel like a virgin. I like the bassline on this one, and I think BØRNS and Lana once again have some solid vocal interplay, but I don’t think the track sticks with me like some of the others on here, and the lack of a hook doesn’t help as much. It’s certainly not bad, and it might even grow on me in the future, but I don’t find it quite as exciting as some of the other songs on here.

Bye-bye Darling: To close things out, BØRNS sings about the idea of life moving forward and saying goodbye to old times (fitting way to end the album, I might say) on a very piano-driven, ballad-esque track. While the song is led primarily by the piano, there’s also a very nice, light drum beat here along with some of BØRNS’ trademark electronic production. The synths here do feel a little bit out-of-place at times, but they definitely serve to make the song a bit more interesting, and BØRNS' vocals are again quite pleasant. It’s not my personal favorite song on the album, but it’s a thematically fitting song to end off of (given that the lyrics see BØRNS frequently saying goodbye), and I personally couldn’t think of a better song to put at the end. It’s definitely a nice-sounding track, too.

Overall, I’ve got to say, I’m glad I listened to my friend who requested this because I really dig this album! Being my first experience with BØRNS, I find him to be a really compelling and interesting artist that has a really keen ear for production and plenty of vocal charm. I’m also particularly pleased because, with some of my recent reviews from artists/bands like Snow Patrol, James Bay, and Pusha T, where part of me feels like I would’ve enjoyed those projects a little bit more if I was more familiar with the artists’ previous releases, I feel like this is a very accessible album that’s easy to jump into, even if you have no familiarity with BØRNS. I definitely think that he shows a lot of range in his styles, mixing upbeat and danceable songs with more laid-back and atmospheric cuts, and he also shows strong vocal range, mixing in some lighter vocals with more energetic and charismatic performances, and pretty much sticking the landing with each style. Definitely really dig this project, and I’d really like to hear more from BØRNS in the future!

Favorite tracks: God Save Our Young Blood, Sweet Dreams, Man, Iceberg, Second Night of Summer, I Don't Want U Back, Tension (interlude)

Least favorite tracks: Blue Madonna (if I really had to pick one)

Rating: Excellent

Pusha T "DAYTONA" Album Review

I guess in the spirit of fresh beef, this is something I kinda need to talk about right now: it’s time for a review of the new Pusha T album “DAYTONA.”

Pusha T is a New York rapper who was formerly part of the hip-hop group Clipse with his brother No Malice. Though the two split up to work on their solo projects, Pusha was signed to Kanye West’s GOOD Music label back in 2010, and he’s released several projects since, from the “Fear of God” mixtape and “Fear of God II: Let Us Pray” EP in 2011, to the “Wrath of Caine” mixtape and his debut album “My Name Is My Name” in 2013, and the follow-up album “King Push - Darkest Before Dawn: The Prelude” that he released in 2015. You may also recognize him because he’s popped up on several projects that I reviewed: he teamed with Desiigner on the track “Jet” from “New English,” he and Belly came together and made a pretty strong track with “Alcantara” on “Mumble Rap,” he surprisingly showed up to Linkin Park’s “One More Light,” where he and Stormzy collaborated with the band on the track “Good Goodbyes,” and he also helped Logic create the banger “Wrist” on “Bobby Tarantino.”

Now, while I’ve heard Pusha T several times as a feature, I never really considered myself a “fan” of his. I have no malice with him (no pun intended), but rather I just hardly paid much attention to his music and only thought of him as “that guy that shows up as a feature often.” That said, though, I wanted to review this album not only because of the high praise it’s getting, but because…yeah, we all know why. With all the recent beef heating up between Pusha and Drake, fueled by Pusha’s claims on the final track of this album “Infrared,” I wanted to see what else Pusha had to say here. So, let’s take a look, shall we?

If You Know You Know: Right off the bat, Pusha T starts the album by talking about crack and cocaine. Apparently, this is something he talks about often. This one’s very upbeat and loud, and Pusha does have a few clever bars on here, but I don’t really think there’s much of a hook on this one, and I’m not really that big on Pusha’s flow, to be honest. Still, he’s got a pretty energetic performance on here, and there are some really cool, weird sonic elements at play as well. Don’t think I’ll be coming back to it that much much, but it’s definitely not a bad song.

The Games We Play: Pusha talks a little more about drug dealing here, but he mixes in talk of his wealth and successes. The track has something of an old-school feel, and the production is really weird and plucky. Pusha once again proves that he has some good lyrical talent, though I don’t really feel like his performance is as interesting here, and I think the track does end rather abruptly. Still, it’s a nice song to nod your head to, even if I don’t think it’ll stick with me much in the future.

Hard Piano (ft. Rick Ross): Pusha brings in Rick Ross for this track to discuss the good and bad parts of being successful, and Pusha has some rather hard lyrics on this one (some of which subtly diss Drake). I like the click-clack percussion as well, but I honestly just don’t find myself vibing with either Pusha T or Rick Ross’s performances. Not that either one is bad, I just don’t find either of their performances all that interesting, I’m sorry. This one could grow on me with a few more listens, though.

Come Back Baby: Man, as a first-time listener, Pusha really loves drugs, doesn’t he? He continues to talk about his drugs on this track which features a more minimal beat that samples "The Truth Shall Make You Free" by The Mighty Hannibal and "I Can't Do Without You" by George Jackson. I really like the sampling here, as it adds some nice variance to the song, and I think Pusha once again comes through with some really clever lyrics. Again, though, I really don’t find myself all that interested in his somewhat repetitive flow. Still, his performance is energetic and I can see the appeal of a song like this. It’s definitely pretty decent.

Santeria: Pusha gets really personal on this one, talking about the murder of his good friend De’Von “Day Day” Pickett, who was also his road manager. It’s admittedly a pretty emotional song, and I do like the really dark, somewhat sinister production of the cut. While I’m not totally crazy about 070 Shake’s refrain, it does add to the rather scary feel of the song. I really love Pusha's emotional performance here, and I think his flow is his most interesting yet. I don’t see myself coming back to it regularly, but it’s a pretty solid track.

What Would Meek Do? (ft. Kanye West): A very braggadocious song, Pusha lets fellow GOOD Music artist Kanye West comes in on this cut to talk about the recent wave of attention he's been receiving, from wearing the “Make America Great Again” hat, to his controversial (and, frankly, stupid) claim that slavery “sounds like a choice,” to his “poopy-di scoop” lyrics on “Lift Yourself.” I really like the production on this track, from the pretty fun beat to the somewhat atmospheric instrumentals, and the performances of Pusha and Kanye are pretty decent. I wish the song was a little bit longer because it feels like it stops right as it’s getting good, but it’s definitely a solid track.

Infrared: The infamous track that started this whole beef that everyone is talking about between Pusha and Drake, with Pusha bringing back the talk about Drake’s lyrics being ghostwritten. I like the very minimal, atmospheric, somewhat ethereal production on this one, and I think his lyrics are some of his best on this album, as he comes at not only Drake but several other rappers on the song. Once again, though, I wish the track was either a little bit longer, or it had a hook to really bring me back into it. I unfortunately don’t get that here, so as it is, it’s a solid song, but not one I think I’ll be returning to.

Guys, I’m sorry, but, I really have no idea what to think of the album. I definitely didn’t “dislike” it, but I’m not sure that I particularly “liked” it, and I’m also not really sure if I thought it was “just okay.” Honestly, it’s just there. And I feel weird about that because I’m supposed to love this thing. It doesn’t have an 86 on Metacritic for nothing, it’s supposed to be amazing, and I’m sure others are loving it, but I really don’t know what to think of it. It’s a rare case where I don’t think the album fits into any one of my ratings. The production on this is pretty cool, and Pusha is a pretty good lyricist, but I don’t find his flows all that interesting throughout, and I find myself wishing there was some more beef to his songs. I don’t know, maybe there’s just something I’m not getting with the album, but it just doesn’t really stick with me.

You know what? This is gonna be a first for my reviews: I’m gonna add a new rating to the scale, and that’s “Not For Me.” This will probably be a very rare rating, and it’s basically for when I listen to an album, and I’m so neutral on it that I can’t properly put it on my rating scale. That’s what happens here with this album: it’s certainly not “Bad” or “Awful,” and I can’t call it “Okay” because it’s too well-written and well-produced to be “just okay,” but I can’t call it “Good” or “Excellent” because that indicates that I have some desire to return to it, which I honestly don’t. It didn’t really excite me enough to give it more listens, but I admit it is well-made. Thus, “Not For Me” indicates that an album doesn’t belong on my rating scale and that you have to listen to it to get a proper opinion. Think of it as a way of saying, “I don’t really love the album, but I still recommend you listen to it.”

Favorite tracks: I honestly don’t really have any favorites. They were all just “fine.”

Least favorite tracks: I also don’t really have any least favorites. As I said, they were all “fine.”

Rating: Not For Me

James Bay "Electric Light" Album Review

Not sure how many of you guys saw this coming, but here it is: it’s time for a review of the new James Bay album “Electric Light.”

James Bay is an English singer-songwriter who saw some massive success in 2014-2015 when he broke with huge singles like “Let It Go” and “Hold Back the River,” the former of which actually charted not only in his home country but here in America, as it reached #16 on the Billboard Hot 100 and ended at #44 on the Year-End Hot 100 in 2016. Those singles led up to the album “Chaos and the Calm,” an album that overcame some less-than-stellar critical reviews to reach #15 on the Billboard 200 and receive a Gold certification here in America. After a few years sort of reeling in that success, he returned earlier this year and released two new singles “Wild Love” and “Pink Lemonade” as the lead-ins to this record.

Now, honestly, “Let It Go” (not to be confused with the song from “Frozen,” by the way) is basically the whole reason I’m covering this album: I didn’t listen to “Chaos and the Calm” in its entirety, but “Let It Go” is a song that I absolutely adore, and it so happens that I really started to enjoy it more and more right after I heard that James was releasing singles for this album. So, even though I’m relatively inexperienced with his music, morbid curiosity got the best of me and made me want to give this record a shot. Let’s see if it delivers, shall we?

Intro: It’s a one-minute long, spoken-word intro between Nick Seltine and Ashley Jones, as they discuss the uneasiness of their relationship. There’s not much to say about it other than that it starts off the album and leads nicely into the next track. Yeah, that’s all I can say.

Wasted on Each Other: The first real “song” on the album, James talks about a relationship that he can’t get enough of, and the high that comes with it. Maybe it’s new to me because I’ve only heard “Let It Go,” but this song has a harder, more rocking feel to it. There are some very cool guitar riffs on this one, some neat open-close hi-hat moments, and it’s got a somewhat bouncy feel to it. I do think James has nice vocals, but there are some filters on his voice here that don’t really allow him to fully show them off. Still, it’s got a decent hook and, while I’m sure it won’t be the best song on the album, it’s not bad.

Pink Lemonade: On this track, James talks about the feeling of needing to escape without exactly knowing why, or how to feel. It’s actually got a somewhat sprightlier, funkier, more electronic feel to it than the last song, and it feels somewhat retro, honestly. It’s fast-paced and somewhat fun, and it’s got some really sweet guitar riffs, but I honestly don’t find it really sticking with me. Maybe I just need to give it a few more listens, but right now, it’s just alright.

Wild Love: Back to the relationship songs, this one sees James talking about a desire to be in the best, most carefree relationship that he could possibly be in, over a more filtered, electronic-influenced instrumental. It’s got a very smooth, moody vibe to it, and the electronic instrumentals do sound very nice. I do like James' vocals on this one, but I once again feel the filters are robbing him of showing off his true potential. Still, it’s a sweet, nice-sounding song, and it might grow on me with a few more listens.

Us: Another more light track with something of a gospel influence, this one sees James talking about someone he loves, and how he believes in the two of them. It’s got a very beautiful piano melody, and James does come through with some great vocals here. It does feel somewhat reminiscent of several other songs (I’m thinking “Stay With Me” by Sam Smith), but it’s got a nice, very pretty vibe to it and I can honestly see myself coming back to it in the future.

In My Head: Here, James talks about how he's so obsessed with a love interest of his that he wants to get her in his head until he can’t forget her. I once again like the somewhat gospel-inspired feel of this track, and it does have a very pretty sound to it, but my big problem with it is that it just feels a bit too experimental, to the point where it’s really not all that coherent. Same goes for James and his vocals, he sounds nice for the most part, but once again, some weird filters don’t quite allow him to really explore his vocal potential. It certainly sounds nice, but it’s not the best song on the album.

Interlude: Nick and Ashley from “Intro” continue their discussion here, and again, I really don’t have much to say about it. Without a visual component, the track just feels out-of-place, to be completely honest. It’s there, and that’s all I can say.

Just for Tonight: This song sees James take on something of a country feel, and it’s about James wanting to be with someone just for one night. It’s fast-paced and rather vibrant, and I do think the song is very head-noddy thanks to its fun drum and tambourine beats. James once again sounds nice, and the hook on here isn’t too bad, but I once again wish his vocals weren’t as filtered as they are because it feels like it’s taking away some of his charm as a singer. It’s still a pretty decent track, though.

Wanderlust: Going back to the more rocking feel, similar in ways to “Pink Lemonade,” James discusses how he didn’t want to travel without his love interest, but his desires to travel got the best of him. I like the fast-paced feel of the song, and the beat is very strong here. There’s not really much of a hook on this one, but it’s a nice infusion of what feels like several different styles and it might grow on me with a few more listens.

I Found You: Once again, we have another love song, where James talks about how much he can’t believe that he met this love interest of his. It’s a song that takes things slower, with a more soulful, doo-wop feel, and James does show that he has some pretty decent, somewhat raw vocals that mesh nicely with the beat of this cut. Not really much of a hook here, but it’s a decent little track with some cool, weird sonic ideas going on.

Sugar Drunk High: A song about young love, this one goes back to the more country-flavored feel that James went for on “Just for Tonight.” While James shows off some nice vocals, I can’t help but feel like I’ve heard this kind of song too many times before (like I said last night during my review of Snow Patrol’s album, I can’t help but shake the U2 “Songs of Experience” vibes on this one). It’s not a terrible-sounding song, but it just feels somewhat bland compared to the rest of the album.

Stand Up: Lyrically, I find this song to be one that’s a bit more empowering, as it feels like a song about being a child, but being unafraid to embrace your childlike nature. It also feels like he’s trying to say “don’t be a statistic” on the hook. Interesting, I haven’t heard a lot of songs that specifically say that. It’s a faster-paced, more electronic song, and admittedly, this one does have one of the better hooks on the album. That said, it just feels a little too bland on the whole, and given that genius.com says that the song is “avant-garde,” I definitely expected it to be a little bit more experimental. It’s not bad, it’s just not all that captivating.

Fade Out: James mixes R&B with psychedelic on here, as he sings about someone who only loves him in the dark when no one else is around. It’s admittedly got a very atmospheric and relaxed feel to it, and I think the production is some of the best on the record. This might also be one of the first times on this album where I’m fine with James' vocals being more filtered because they mesh well with the instrumentals. It’s a slow-paced jam that I can see myself coming back to quite a bit in the future.

Slide: Ending the record, James talks about how we all need to love one another, and how we all need someone to hold and care for. It’s a very light, piano-driven ballad that feels kind of closer to something you’d hear on his first album (like “Let It Go”), and given the more raw feel of the song, I appreciate that James didn’t filter his vocals, because they sound very nice on this one. No, it’s not quite enough to save the record or anything like that, but it is a nice song that wraps up the album solidly.

Overall, I can kind of see the problem some critics had with this album. I can’t really compare it to his first record, but if you’re like me and you know James Bay only from “Let It Go,” I wouldn’t really recommend jumping right into this album. It doesn’t really sound too bad, but I feel like it doesn’t really explore his vocal potential all that much, and it doesn’t really have much coherence. With “Intro” and “Interlude,” I think James tries to lead us to believe that this album has an overarching theme or story of some kind, but it really doesn’t. It’s an album of mostly love songs, and while that’s not necessarily a bad thing, none of the songs feel all that spectacular.

Inferring from the little bit that I’ve heard of James’ first album “Chaos and the Calm,” which was largely just folk-rock/soft rock, it feels like James tries here to dip his toes into several different styles, but he never really settles into just one. He tries some more retro-sounding rock, a little hard-rock, lighter ballads, gospel songs, and even some doo-wop, but he fails to really stick the landing in one particular field, and kind of just does each one in a “just okay” kind of way. It’s unfortunate because I did want to love this album, but I just don’t see myself coming back to it all that much in the future.

Favorite tracks: Us, Fade Out, Slide

Least favorite tracks: Sugar Drunk High

Rating: Okay