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

Kendrick Lamar & Various Artists "Black Panther: The Album" Album Review

Surprise! We’re reviewing a film soundtrack today! It’s time to take a look at “Black Panther: The Album.” “Black Panther” is the next film in the Marvel Cinematic Universe, and it’s one that many around the world (myself included) have been heavily anticipating. Under normal circumstances, however, I probably wouldn’t have covered this album in a review, seeing as how I don’t review film soundtracks. However, hearing that Kendrick Lamar and his label, Top Dawg Entertainment, would be producing the soundtrack got me so excited that I couldn’t pass up the opportunity to give this thing a listen, especially given the star-studded lineup of artists here. So, let’s do it:

Black Panther (performed by Kendrick Lamar): Kendrick introduces us to the album with a verse from the perspective of T’Challa, the Black Panther himself. Kendrick raps smoothly over a largely piano-driven melody, and his flow, as always, is very impressive. Lyrically, I feel like the song captures the essence not only of the character, but of Kendrick himself, and I feel like, with this track, Kendrick really becomes T’Challa in and of himself. A very strong start to the album.

All The Stars (performed by Kendrick Lamar and SZA): Here, we have Kendrick and SZA in a song that’s actually different on the album than it is as a single. I’m not sure how, but either way, the two of them talk about love on a pretty R&B-leading track that features some very beautiful vocals from SZA and a really interesting, punchy electronic instrumental. I also love Kendrick’s flow on his verse, and while his vocals on the pre-chorus are very filtered, they still sound very cool. I’m interested in seeing how this song plays out in the context of the film, but either way, it’s a really fun, enjoyable R&B track.

X (performed by ScHoolboy Q, 2 Chainz and Saudi): Kendrick is joined on this track by ScHoolboy Q, 2 Chainz, and Saudi, and they rap over a very bright, trap-inspired beat. Saudi’s verse is really strong, as his vocals are smooth and his Zulu lyrics are really great additions to the song. ScHoolboy Q’s verse is also a lot of fun, and Kendrick’s hook has all the potential to become ear-wormy. And of course, I can’t go without mentioning 2 Chainz’s verse, which features the same great, rapid-fire flow we’ve come to expect from him. Again, I’m not sure how this will play in the context of the film, but even without the film, it’s a really good track.

The Ways (performed by Khalid and Swae Lee): 2017 breakout star Khalid and Rae Sremmurd’s own Swae Lee (who was also a 2017 breakout star, to an extent) croon over a pretty laid-back trap beat (and Kendrick sneaks in for a quick cameo) about a “power girl,” supposedly referring to Lupita Nyong’o’s character Nakia. As always, Swae Lee’s very bright sounding vocals are really great, and Khalid’s chorus is damn-near ear-wormy. And, again, I like the laid-back, bright, kind of beach-esque instrumental on this one. Good song.

Opps (performed by Vince Staples and Yugen Blakrok): Kendrick is joined here by Vince Staples and Yugen Blakrok as the trio rap about gangs on an opposite side over a very thumping, bass-drum heavy instrumental. I’m not all that crazy about the hook on this one, and the song does sound a bit overly-commercial, but I do think Kendrick, Vince, and especially Yugen, provide some really great flow on their verses (even though I’m not sure how Yugen mentioning Gotham City got past Disney on this one). Not one of my favorites on the album, but still a solid track.

I Am (performed by Jorja Smith): Jorja Smith, who you may remember had a few appearances on Drake’s “More Life” playlist, appears on this track and sings over a lighter, laid-back, but snare-drum heavy beat (and again, Kendrick sneaks on for the outro). Again, I couldn’t really catch any obvious references to the film, and I’m not sure how this will connect to the film in that regard, but I do love Jorja’s smooth, pretty vocals on this one, and I think they mesh well with the instrumentals on this one. Definitely think I’ll be coming back to this one in the future.

Paramedic! (performed by SOB X RXE): Kendrick and Zacari, who previously collaborated on “LOVE.” are joined on this track by an up-and-coming hip-hop group known as SOB X RXE. I like Zacari’s very smooth, pretty vocals in the intro, and I like the kind of old-school feel of the song. Lul G, DuhBoii, and Yhung T.O. all provide some great, passionate performances and great flow on their verses, though I could do without the hook on this thing. It’s kind of boring and I kind of wonder how a hook with the language on this one got past Disney and Marvel. Either way, it’s a decent track, even if it’s not one of my favorites on the record.

Bloody Waters (performed by Ab-Soul, Anderson .Paak and James Blake): For this track, Ab-Soul, Anderson .Paak and James Blake perform over a very beach-esque track with some really interesting percussion. I love Anderson .Paak’s kind of soulful vocals on the hook, Ab-Soul’s clever lyricism and humorous performance/flow on his verses, and James Blake’s kind of sad-sounding vocals in the song, which mesh surprisingly well with the bright production on the song. Definitely an enjoyable track.

King’s Dead (performed by Jay Rock, Kendrick Lamar, Future and James Blake): Another very star-studded track, this one has Kendrick joined by Jay Rock, Future, and James Blake, and they perform over a very uptempo, fast-paced trap beat. Kendrick’s hook is ear-wormy, Jay Rock’s performance is charismatic and his flow is really solid, and Future’s vocals throughout the hook actually sound decent (outside of the damn "la-di-da-di-dah," broken autotuned nonsense). Kendrick’s second verse features a really passionate performance with some of his best flow on the album, and James Blake’s cameo, while not huge, is pretty solid. Great track!

Redemption Interlude: Zacari handles this piano-driven interlude, and it’s got a really beautiful instrumental and some smooth, if a bit too spacey, vocals from Zacari. Hykeem Carter and Kendrick also come in for the outro, and they do a serviceable job, but nothing too crazy overall. A standard interlude, not one of the most memorable things on the album, but nothing too bad either.

Redemption (performed by Zacari and Babes Wodumo): Zacari also handles this track alongside Babes Wodumo, and the afro-beat on this is much more uptempo and piano-driven than before. Kendrick also cameos here and provides some typically nice vocals in scattered portions. Babes Wodumo provides some very strong Zulu lyrics, and Zacari slips into his higher register on this one to pretty good results (shoutout to Mampintsha’s cameo on this track, as well). The song succeeds as a whole to me because it’s an extremely danceable and energetic banger that never lets up. Great track.

Seasons (performed by Mozzy, Sjava and Reason): This track features Mozzy, Sjava, and Reason. I know you guys have probably never heard of them, but that doesn’t matter because they make something really great here. I love Sjava’s Zulu lyricism on his first verse, and the song itself has a very slow, kind of interestingly creepy feel to it. Mozzy’s verse has a very sad feel, but it features some really strong flow and solid lyricism, and Reason has some really solid, somewhat rapid-fire flow on this one. It’s a kind of sad-sounding track, but it’s definitely a good track.

Big Shot (performed by Kendrick Lamar and Travis Scott): Kendrick is joined on this track by Travis Scott as they discuss the joys of being rich and famous musicians (pretty sure this works in context with the film because it’s supposed to be discussing Wakanda) over a melody-driven by what kind of sounds like a pipe flute. Kendrick’s vocals on the hook are kind of scream-y, which could be a bit annoying to some, but said hook is still fun, as is the instrumental, and Kendrick’s flow on his verse is as strong as always. Shoutout also to Travis Scott’s very nice, pretty vocals for adding an extra layer of excitement to the track. Definitely enjoyed this one quite a bit!

Pray For Me (performed by The Weeknd and Kendrick Lamar): Ending things off, we have a track from two of my favorite artists, Kendrick and The Weeknd. Hearing they’d be collaborating for another track had me through the roof, and sure enough, this song is awesome! Really sweet, ethereal electronic instrumentals on this one, I love The Weeknd’s vocals throughout this song, the hook is hypnotizing and Kendrick’s verse is rock solid, as he continues to explore themes he explored on “DAMN.,” themes that were coincidentally fitting enough for the film. A great end to the record, I love this track.

Overall, I’m still waiting to see how a number of these tracks play out in the context of the film since it won’t be out for another week, but I have to say, I nonetheless really enjoyed this album. Kendrick and TDE clearly proved that the star-studded cast of musicians wasn’t brought in just to sell records, they all work together to make a record that is unapologetically African, and all the better for it. And while I’m not sure how many references there were to the film in the lyrics, I think that’s not really all that bad, because it allows the album to have a life on its own, and it allows the songs to feel like more than just “tracks that were in ‘Black Panther.’” There are some legitimately well-produced, well-written, well-performed tracks here, and the album only works to get me even more excited for the film to release next week.

I’m ready to visit Wakanda, are you?

Favorite tracks: Black Panther, All The Stars, X, The Ways, I Am, Bloody Waters, King’s Dead, Redemption, Seasons, Big Shot, Pray For Me

Least favorite tracks: Paramedic! (if I had to pick one)

Rating: Excellent

Drake "Views" Album Review

Rounding things out in the Drake marathon, we’ll be looking at Drake’s 2016 album “Views.” Even though this is not his most recent project at the time of this review, I’ve already reviewed Drake’s latest project, “More Life,” before this marathon, so this will be the final review of the saga. I’ve been interested in this project because, while I actually enjoyed a few of the singles on this thing, I’ve heard from a lot of people that it’s one of his weakest projects. Let’s see if I can understand why:

Keep the Family Close: Starting things off, Drake discusses his trust issues over a more moody, R&B-style track. It’s clear that he’s going back to the more emotional stuff here, unlike “If You’re Reading This, It’s Too Late,” but that’s fine with me, as I like those kinds of songs, and Drake’s vocals remain smooth and pretty on this one. I like this one, it’s a good start to the record.

9: Turn the 6 upside down, it’s a 9 now. Here, Drake raps more loudly over a trap-inspired beat, and he definitely sounds very confident on this one. The trap beat is pretty standard, but it’s still really head-noddy stuff. I’m not really digging the hook on this one, but all in all, this is a solid track.

U With Me?: Okay, back to the love songs on this one. And this one just feels really standard in every way. Very basic, unexciting trap beat, and while Drake’s vocals remain as smooth as ever, lyrically there’s a little bit of cheese here. Not one of Drake’s worst tracks ever, but it’s nothing all that exciting to me.

Feel No Ways: Another song about a girl, this time talking about one who isn’t with his luscious lifestyle. I actually really like the beat on this track. There’s some very smooth percussion on here, and I do get some “Hold On, We’re Going Home” vibes with said beat, and Drake’s vocals remain as smooth as ever on here. Part of me wonders why Drake didn’t release this as a single, because I think it would’ve been a hit. Really good track.

Hype: A more trap-driven track where Drake talks more about the things he’s done successfully, I like his very confident tone on this song and his catchy, impressive flow on this one. The hook is also really solid and Drake’s vocals are smooth on it, and while the trap beat is again pretty standard, it’s still head-noddy enough to help make up for the song’s short length. Good track.

Weston Road Flows: A song that throws things back to Drake’s old days, this track samples a Mary J. Blige song (namely "Mary's Joint") and, admittedly, feels pretty old-school. I think this honestly feels like the perfect balance between Drake’s two styles: the confident performance of Drake’s rapping, combined with the brighter, R&B-style backtrack, works really well here. It’s only one verse, which shocks me because I expect this kind of song to end the album, but either way, I actually really like it.

Redemption: Back to the relationship songs! Fortunately, though, we have a relationship song that I really like! This one feels like a slow-jam, and it’s a really moody, minimal track that really works for me. I love Drake’s very pretty, nice vocals on this one, and the song gives off a kind of sexy vibe that’s pretty great! Really enjoyable track! 

With You (ft. PARTYNEXTDOOR): On this track, Drake brings in his fellow OVO boy, PARTYNEXTDOOR, who essentially anchors the song given that his presence here is much larger than Drake’s. His vocals are quite nice on here, as are Drake’s, but I’m not really digging the kind of bombastic instrumentals on here. They are smooth and kind of ethereal, but just kind of inflated and unenthusiastically boring. Jeremih also provides some vocals at the very end, and as usual, he does sound nice, but he’s not enough to save the track, unfortunately.

Faithful (ft. Pimp C and dvsn): On this track, Drake takes an old verse from the late rapper Pimp C, and while Drake picked a solid verse (specifically from the “Tom Ford (Remix)”), Pimp’s appearance just feels kind of out of place with Drake’s smooth crooning on this one. The real highlight of this track is the guest verse from fellow OVO member dvsn, who definitely reminds me a bit of Chris Brown, but I think his very smooth, beautiful vocals mesh well with the beat of the song, and I can see him gaining a pretty dedicated fanbase if OVO markets him well, because he’s a great vocalist. Not one of my favorite tracks on this, but I appreciate it for showing me who dvsn is and introducing me to his very nice vocals.

Still Here: Here, Drake gives us the kit and caboodle of his accomplishments, but he does it over a very head-noddy, extremely fun trap beat and with the same tonal confidence that helped make “If You’re Reading This, It’s Too Late” so successful. The hook is also really fun and I love Drake’s sing-rapping as always on this one. Definitely one of the better tracks on this album, I feel like I’ll definitely come back to this track quite a bit in the future.

Controlla: This track was my “song of the summer” from 2016, and it was one of those songs that I listened to on constant repeat throughout that summer, so maybe it’s my nostalgia speaking when I say that I still love the song. I like the very bright feel of the song, Drake’s smooth vocals, and the danceable feel of it, and while I’m still not crazy about the random patois screaming from Beanie Man on the track, it doesn’t take away from a very enjoyable song.

One Dance (ft. Wizkid and Kyla): A song that a lot of critics really tore into, I actually have to say I really enjoyed this track. I see why others didn’t like it, seeing as how it’s a kind of watered-down dancehall track with a kind of weak performance from Wizkid and an underutilized performance from Kyla, but again, I think it’s very fun, danceable, I like the very catchy hook, and Drake’s vocals are as smooth as ever. Again, it may also be my nostalgia trumping my practicality here, but it’s an enjoyable track.

Grammys (ft. Future): Another collaboration between Drake and Future, because “What A Time To Be Alive” apparently wasn’t enough for us. I like Drake’s assured performance on here, even if the trap beat on this one is not really all that exciting or fun to me. Future’s vocals are pretty decent here, but God, that hook is so boring! How many times can you repeat “they gon’ think I won the Grammy” in the exact same way until you realize that it’s extremely dull? Definitely one of the weaker tracks on this album.

Childs Play: “Why you gotta fight with me at Cheesecake? You know I love to go there” might be one of the silliest lines on this record, and it’s hard for me to take this track seriously after that. Either way, this song features Drake wanted to indulge his woman in more than just a dress, and admittedly, it’s got a pretty fun, catchy instrumental and smooth performance with some good flow from Drake, but damn, there are some really weird lyrics on that thing (beyond that “cheesecake” lyric), and the sample integration of “Rode That Dick Like A Soldier” by…HaSizzle?…is really strange. Not a terrible track, but not a great one either.

Pop Style: Not gonna lie, ever since I first heard this song, I hated the hook. Sure, Drake’s confident performance on it is great and all, but I just think it’s boring and, honestly, rather annoying. And while I love the production on this one (the instrumental might be one of the strongest on the album), some of the lyrics on this thing are really bad (I agree that the “got so many chains they call me Chaining Tatum” might be one of the worst lines I’ve ever heard, and easily one of Drake’s worst lines). Honestly one of the weaker tracks on this thing.

Too Good (ft. Rihanna): Drake sticks firmly in his comfort zone with this love song, but once again, I actually like it. I know, it’s another kind of basic dancehall song, and the patois influence on the track is pretty cheesy, but I once again love Drake’s smooth vocals, the bright, danceable vibe of the song, and the chemistry between Drake and guest artist Rihanna. Is it one of Drake’s best songs? Probably not, but it’s still a pretty fun, head-nodding track overall.

Summers Over Interlude: A very short interlude anchored by Majid Jordan, this is another slow-jam type of song, and it’s definitely nice-sounding, but it just doesn’t add much substance to the album for me. Not a bad interlude, just nothing special.

Fire & Desire: A dedication to one specific woman that’s devoted to another man, this song does take some time to get going, and the sampling of Brandy’s “I Dedicate” is strange because of the Alvin and the Chipmunk-esque speedup vocals on this one, but I do like Drake’s very pretty crooning and the kind of ethereal production on this one. I feel like I’ll want to come back to this one quite a bit in the future, it’s definitely a nice track.

Views: The final track on this thing (not counting the bonus track “Hotline Bling”) and one that talks about faith, I feel like this song is a bit too booming for me, and the lack of a hook definitely hurts it. Drake’s confident tone is nice and all, and he blends well with the very loud instrumentals on this one, but I just feel like this isn’t one of his strongest songs lyrically. Sure, there’s no huge silliness on it, but it just isn’t all that interesting, and it just feels too bombastic. It’s a good thing “Hotline Bling” was included as a bonus track to end things off with because this would’ve been a weak end to the record.

Hotline Bling: Ending things off, Drake included this megahit as a bonus track, and I must say, when it first came out, I thought it was really weird and silly (blame the music video!!!), but now that I hear it again, I actually really like the vibe of this track, and Drake’s smooth vocals make it really fun. And of all the more dancehall-influenced tracks on this thing, the production on this one is actually really strong. I just kind of wish the song wasn’t attached to such a silly music video because I probably would’ve dug it a lot more if the video wasn’t the thing I remembered about the song. Hearing it now, it’s actually quite enjoyable, and it’s a good end to the album.

Overall, I have to say that “Views” is easily one of Drake’s most inconsistent records to date, and I think that lyrically, it’s also one of his weakest. There are definitely some really strange lyrics on this that are damn close to being “hot garbage,” and this album does feature some of Drake’s weakest tracks of his career. However, I’d be lying if I didn’t say that it has plenty of songs that I really enjoy and have a lot of fun with, and there’s a lot here I feel like I’ll definitely want to come back to in the future. Is it Drake’s strongest project? No, definitely not. Is it a bit too bloated and overly-long? Well, most of Drake’s records are, but yeah, it is. Did I still enjoy this album? Honestly, yes. I get why people see it as one of his weaker projects, but I feel like there’s a lot to like here, and I definitely think that a number of the tracks will get repeat listens out of me.

Phew! Now that the Drake marathon is over, back to strictly new album reviews. Stay tuned tomorrow for the Black Panther soundtrack review!

Favorite tracks: Keep The Family Close, Feel No Ways, Hype, Weston Road Flows, Redemption, Still Here, Controlla, One Dance, Too Good, Fire & Desire, Hotline Bling

Least favorite tracks: U With Me?, With You, Grammys, Pop Style, Views

Rating: Good

Drake & Future "What A Time To Be Alive" Mixtape Review

Alright, guys, next in the Drake marathon, we’re looking at “What a Time to Be Alive,” a 2015 collaboration mixtape Drake released with Future. Interesting pairing, to say the least. I don’t know what to expect out of this, but sometimes that’s a good thing, so let’s see if this tape does anything for me:

Digital Dash: Already starting off with something braggadocio and uptempo, Metro Boomin produces what kind of feels like any other modern-day rap/trap track (even if it’s nothing short of energetic), Future delivers a pretty typical, boring performance on the track, and Drake’s performance is not one of his strongest. Not a great start to this tape.

Big Rings: Where Future took the lead on the last track, Drake leads things off here, and once again, they brag about their accomplishments over a Metro Boomin track that honestly doesn’t sound much different from the last song. Drake’s performance, while a bit goofy-sounding at points, is at least energetic and confident enough to keep things exciting, and I can at least applaud that Future gives us some energy on this track. Not a great song, but nothing too bad overall.

Live from the Gutter: Future leads this track as both he and Drake discuss some of the harsher things in life. I do like the more dark, moody trap instrumentals on this one, though I don’t really care as much for Future’s performance on this thing. His flow is solid, but his vocals are just kind of uninteresting to me. Drake’s performance is where the track really shines, as he sounds extremely confident and his flow is pretty solid. An okay track, but nothing I’ll really want to come back to in the future.

Diamonds Dancing: A track that’s not particularly led by one artist or the other, I feel like the two of them have some pretty solid chemistry, as they go with something more sing-y here. Future’s kind of broken vocals mesh well with Drake’s sad but still smooth vocals, and the trap beat on this one flows well with the two artists. I like this track.

Scholarships: A more Future-led track, I feel like his performance throughout this song just feels really boring to me. And while Drake’s performance is more exciting and assured than Future’s, the song itself just feels painfully dull to me. Drake’s solid performance can’t save this basic trap song with a sleepy performance from Future, unfortunately.

Plastic Bag: Drake takes the lead on this track, and things get a lot more uptempo on this one. The hook on this song isn’t really all that interesting, but it’s pretty energetic, I like Drake’s sing-rapping and solid flow on his verses, and there’s some decent flow from Future on his verse. Don’t think I’ll be coming back to this one that much, but it’s not a bad song overall.

I’m The Plug: I actually like the sound of this one, even if it is a standard trap beat, but unfortunately, I’m not really digging Future’s performance, because his flow just sounds too boring to me. The hook is also not too exciting or memorable, though Drake’s rapid-fire flow and very confident performance really make the song better. Will I be coming back to it? Probably not, because Drake’s verse is really the only amazing part of the song, but overall, it’s not all that bad.

Change Locations: A track that relies more on the interplay between the two, this song shows Drake and Future talking about their spending in strip clubs, because…what else? The instrumental on this song is a nice mix of light and moody, and loud and excited, and I again like the interplay between Drake and Future on this track. I feel like the tracks like this that aren’t really led by one or the other are the stronger ones. The hook is also a lot of fun, and I feel like I’ll be coming back to this track a bit.

Jumpman: One of the bigger tracks from this tape, I never dug the whole “Jumpman, Jumpman, Jumpman, Jumpman” thing going on in this one, and I’m still not digging it too much. Sure, Drake and Future’s performances are interesting enough, and I like the interplay and chemistry between the two of them on this one, but I feel like the song just feels very repetitive to me, both lyrically and sonically, as the beat on this just sounds like any old standard trap beat.

Jersey: A Future solo track, here we have a wallpaper trap beat that honestly doesn’t really do much for me, and while Future has some decent flow on this track, his vocals remain kind of sleepy and unexciting for me. Still, it’s bright and uptempo enough to be sporadically enjoyable, and while Future’s vocals are cliché and generic (and again, somewhat boring), they’re definitely smooth enough on here. Not a track I’ll be coming back to, but it’s not one of the worst on here.

30 for 30 Freestyle: Ending things off, Drake gets a solo track as well, and while it starts off a bit creepily to me, I like the very stripped-down feel of this one, in that it’s a lighter piano-driven song. And while it might seem a bit cliché that Drake is ending one of his projects with a one-verse, no-hook track, it still works for me. It feels pretty introspective and kind of emotional, and that’s what makes it enjoyable. It’s a very nice ending to the mixtape, and I feel like I’ll definitely come back to this song more and more.

Overall, though, this mixtape didn’t really do much for me. After how impressed I was with “If You’re Reading This, It’s Too Late,” which showed Drake performing over some very interesting, moody trap beats, the production on this tape just feels a bit too bland for me. And while Drake had some consistently strong performances here, I couldn’t say the same for his co-star Future. A number of his moments on the tape just sound a bit sleepy to me, and even though I’m not really a fan of Future and I don’t really listen to his music, I feel like I’ve already heard all of his songs just by listening to this project. Just take off Drake and you’ve got a very standard, nothing special Future project with this one. I feel like there’s definitely an audience for this, but unfortunately, I’m just not part of it.

In the context of the Drake marathon I’ve been doing, though, I don’t really blame him for this mixtape not clicking for me. It’s clear to me that, fresh off of “If You’re Reading This, It’s Too Late,” we’re still hearing the very confident, assured, not-so-soft Drake on this project, which is good news. And again, his performances throughout this tape are consistently rock-solid, to the point where he’s honestly the most interesting thing about the project. Overall, though, not really a totally interesting mixtape, and for my money, I’d say even if you’re a big Drake fan, skip it and just listen to “If You’re Reading This, It’s Too Late” again. This thing isn’t terrible, it’s just nothing special.

Next up, we’re gonna round out the Drake marathon with “Views” (since I already reviewed “More Life”). Been interested in that one for a while, you’ll learn why when the review is posted.

Favorite tracks: Diamonds Dancing, Change Locations, 30 for 30 Freestyle

Least favorite tracks: Digital Dash, Scholarships, Jumpman

Rating: Bad