The Greatest Name-Checker in Rap History

The Greatest Name-Checker in Rap History

by Dan-O

The Game put out a new album(Born 2 Rap) that is not great. He takes samples from high profile songs and says Nicki’s name a bunch because he wants to have sex with her still (he’s been saying thirsty things about Nicki for YEARS). He talks about Jay a lot. I feel like his reputation is that he is the wildest name-checker in rap and I wanted to course correct.

Chino XL is the actual name. If you know him you remember 2pac cursing him out by name in Hit Em Up. Why did that happen? Well, on his 1996 DEBUT album(Here To Save Us All) he got a Ras Kass feature on a song called Riiiot! And this is part of his first verse.

“Governmently engineered like e bola for this rap garage sale
By this industry, I’m trying not to get fucked like 2pac in jail
You can hate me, but await me like I’m magic johnson’s
Death in a box with jordan’s pops that ass’ll never take another breath
Cuz, I write the songs like barry manilow
I like my sugar brown like hugh grant fucked d’angelo.”

 

 

 

He ends that song with a verse that includes the line “Punchlines with more elasticity than Biggie’s stretch marks.” My point is this: next time we talk name-check rap think about the context. Game keeps talking about Jay because he wants to be Jay. He keeps talking about female rappers he wants to sex because he’s thirsty. All his name drops are out of desperation.  Chino XL has a career full of jaw dropping name drops that don’t benefit him at all. In 1996 he was clowning OJ Simpson, in 2012 he was making fun of Muhammed Ali’s brain stem. If you are going to drop the name of someone important do 2 things for me A.) don’t walk it back and apologize B) make it heinous. Do it out of an unparalleled fearlessness. Shake the world up so the people who feel safe don’t anymore….and when the consequences come take them like a seasoned criminal takes a sentence. Or don’t do it at all.

What If The Grammy’s Didn’t Completely suck? And why they do.

2020 grammys

What If The Grammy’s Didn’t Completely suck? And why they do.

by Dan-O

I remember being angry about how much the Grammy’s suck since grade school. It was just a sad naked reality. A giant bloated out of touch parent leaning over and saying “That Will Smith, huh?! Best rapper alive.” Interestingly, their problem is very grade school. When the 2020 nominee list announced Lizzo leading the pack with eight nominations we all understood she will likely walk out with a bushel of gold statues. The problem is not Lizzo, who is charming with a great voice and feverish energy. My question is why does Lizzo need that spotlight? She’s got platinum and gold plaques on the wall. The Grammy’s remain a boring homecoming king/queen ceremony rewarding the most rewarded and exposing the most exposed.

Life is not the homecoming dance. Life is the chaos of a billion hues and it is an award show’s job to paint with those colors, turning them into something a viewer can be truly engaged by. They should see a performance from an artist who wins and hit google with wide eyes. Who is that?! That is what the Freemusicempire awards would strive to do. I decided to stop complaining and clear out their brackets, fill them with what I would showcase and look at the difference.

Let’s start with Album of The Year. This is their list.

Album of the Year
“I, I” — Bon Iver
“Norman F—ing Rockwell!” — Lana Del Rey
“When We All Fall Asleep, Where Do We Go?” — Billie Eilish
“Thank U, Next” — Ariana Grande
“I Used To Know Her” — H.E.R.
“7” — Lil Nas X
“Cuz I Love You” (Deluxe) — Lizzo
“Father of the Bride” — Vampire Weekend

Mine:

Album Of The Year

85 To Africa by Jidenna

Father Of The Bride by Vampire Weekend

Bandana by Freddie Gibbs and Madlib

Beware of The Dogs by Stella Donnelly

Help Us Stranger by Raconteurs

Kiwanuka by MK & Danger Mouse

African Giant by Burna Boy

Hiding Places by Billy Woods

So I only kept one of their nominees and I can go over the people I ejected but that’s not as fun as imagining the world riveted as Billy Woods holds up a gold statue and delivers the illest, hardcore depressingly political acceptance speech. Imagining my mom texting about this charming Jidenna fella as he performs before the award is given out. I’m the weird one because everyone else wants to reward Bon Iver’s 5th best album or Lana Del Rey ballading in Adele’s lane. I’m not mad at Lil Nas X because my kid sings Old Town Road like a Romero zombie…but I’m not gonna pretend like the album was good. Popularity is immaterial. Regardless of what you feel about Vampire Weekend the album was DOPE. I won’t see Burna Boy dumped in some “World Music” sub category, that album is AOTY contender through and through.

Next up, Record of The Year: their list

Record of the Year
“Hey, Ma” — Bon Iver
“Bad Guy” — Billie Eilish
“7 Rings” — Ariana Grande
“Hard Place” — H.E.R.
“Talk” — Khalid
“Old Town Road” — Lil Nas X Featuring Billy Ray Cyrus
“Truth Hurts” — Lizzo
“Sunflower” — Post Malone & Swae Lee

A lot of their nominees happen because of the radio. I listened to the Ariana Grande once and moved on. Having a kid I get as much Sunflower as I do Old Town Road but I still wouldn’t put it top eight. Shout out to people bumping Khalid; please explain to me how his music isn’t generic and his vocal range a straight line.

Here are mine.

Record Of The Year

Old Town  Road by Lil Nas X

This Life by Vampire Weekend

Anybody by Burna Boy

Cuz I Love You by Lizzo

All Your’n by Tyler Childers

Bop by Da Baby

Sing Along by Sturgill Simpson

BGM by Wale

Their nominees for Best New Artist:

Best New Artist
Black Pumas
Billie Eilish
Lil Nas X
Lizzo
Maggie Rogers
Rosalía
Tank and the Bangas
Yola

Mine:

 Best New Artist

Da Baby

Megan Thee Stallion

Lil Nas X

Rosalia

Lizzo

Stella Donnelly

Ari Lennox

J. S. Ondara

I respect that the Grammy committee put Rosalia and Black Pumas on their list. I refuse to accept Lizzo as new on her third album. I refuse to create a best new artist list without Megan Thee Stallion who has blown the doors off her own songs as well as guest verses with Maxo Kream, Wale, etc. She has been WORKING. Not every genre is creating new vibrant stars but folk has J.S. Ondara and Stella Donnelly who don’t have “one album wonder” vibes at all. They will be around for years.

Onto R & B here is their best album:

Best R&B Album:

1123 — BJ The Chicago Kid
Painted — Lucky Daye
Ella Mai — Ella Mai
Paul — PJ Morton
Venture — Anderson .Paak

Mine:

 

Best R&B Album

Shea Butter Baby

Kiwanuka

Friends by Omar Apollo

American Love Call

While We Wait by Kehlani

Case Study 001 by Daniel Caesar

The New Breed by Dawn

Ugh, Those Feels Again by Snoh Aalegra

Only regret I had was ditching BJ The Chicago Kid who I love and always rep for. Before we get into the rap categories, before you get mad at their nominees, know that The Grammy’s know Rap like John Candy knew Physics, like Newt Gingrich knows humility.

Best Rap Song: “Bad Idea” — Chancelor Bennett, Cordae Dunston, Uforo Ebong & Daniel Hackett, songwriters (Ybn Cordae ft. Chance The Rapper)
“Gold Roses” — Noel Cadastre, Aubrey Graham, Anderson Hernandez, Khristopher Riddick-tynes, William Leonard Roberts Ii, Joshua Quinton Scruggs, Leon Thomas Iii & Ozan Yildirim, songwriters (Rick Ross ft. Drake)
“A Lot” — Jermaine Cole, Dacoury Natche, 21 Savage & Anthony White, songwriters (21 Savage ft. J. Cole)
“Racks In The Middle” — Ermias Asghedom, Dustin James Corbett, Greg Allen Davis, Chauncey Hollis, Jr. & Rodrick Moore, songwriters (Nipsey Hussle ft. Roddy Ricch & Hit-boy)
“Suge” — Dababy, Jetsonmade & Pooh Beatz, songwriters (Dababy)

Best Rap Song

Palmolive by Freddie Gibbs featuring Killer Mike

XXL by Da Baby

Threat 2 Society by 2 Chainz

Cash $hit by Megan Thee Stallion featuring Da Baby

Even Tho Its Hard by Trae The Truth

Oprah by Rapsody featuring Leikeli47

Nobody’s Favorite by Rick Ross featuring Gunplay

BGM by Wale

Let them lead on Best Rap Album and I will play the closer.

Best Rap Album:

Revenge Of The Dreamers III — Dreamville
Championships — Meek Mill
i am > i was — 21 Savage
IGOR — Tyler, The Creator
The Lost Boy — YBN Cordae

Best Rap Album

Hiding Places by Billy Woods

Freddie Gibbs x Madlib-Bandana

Brandon Banks by Maxo Kream

Baby On Baby by Da Baby

Eve by Rapsody

Wow…That’s Crazy by Wale

Shelby by Lil Skies

Psychodrama by Dave

  1. ROTD III is great but too long not cohesive, a great compilation but not one of the best rap albums
  2. Tyler knows that album is not a rap album.
  3.  The nerve of not including Maxo or Freddie Gibbs or Rapsody is staggering.

So before you get mad at the nominees take a piece of paper out and pull your most important categories, wipe them clean and put your own nominees on paper. Look at them. Make sure you bought all those albums, so those artists you love ate off you. If we are going to keep pointing angry fingers at awards getting it wrong, we have to manage our own ethics.

#Bandcampgold-Kiwanuka by Michael Kiwanuka produced by Danger Mouse

#Bandcampgold-Kiwanuka by Michael Kiwanuka  produced by Danger Mouse

by Dan-O

An albums first song needs to put you squarely in their world, so the rest of the songs can expand it. Think about how important it is to start Eric B & Rakim’s Paid In Full with I Ain’t No Joke. My go-to favorite first song-off-an-album this year was Cuz I Love You by Lizzo. It really sets the table for the boisterous heartfelt ride your about to go on. You Ain’t The Problem might actually have it beat.  You Ain’t The Problem starts with the tambalas, drums certainly but not the kind you may have been expecting. You hear a crowd a woman laughing and the music really kicks in. We don’t actually hear Michael Kiwanuka until one minute twenty two seconds into the song. When the voice comes he is singing in sharp bursts to meet the pace of the music. When he says “Don’t hesitate, time heals the pain, you ain’t the problem…” it’s as soulful as the songs he is known for but this time it’s groovy fuzzed out and moving. Kiwanuka builds on the advancements made by Danger Mouse and Michael Kiwanuka on 2016’s collaboration Love & Hate. The sonic background is dense, as an example, Rolling moves as fast as the first song; thick with handclaps tamborine bass and guitar. You have to think of Michael Kiwanuka as both the author and the instrument. Danger Mouse’s job is to challenge the instrument.

What makes it one of the best albums of the year is that somehow it’s complications manage to feel simple. A lot of post-Ocean R & B is daring to be daring. You can feel new sounds and ideas being hurled into songs where they normally wouldn’t be and it doesn’t always work. As a singer, Michael Kiwanuka has a voice that is clean and clear. His songwriting matches. His songs sound essential rather than attempted. Famous producer, super nerd, and great twitter follow Young Guru once spoke of him as the new Bill Withers and I think that really is his best comparison. He makes everything clear.

If your Danger Mouse and you have access to that unique an artist…why not brew these songs as advanced as you can…as thickly orchestral as they allow? The voice will always be there to keep the listener on track. That being said, when things slow down its really beautiful. Piano Joint (This Kind Of Love) is an amazing heartbreak song that benefits from its intro.

I’m not giving Danger Mouse credit for Kiwanuka (the album or the dude) I loved Home Again when it dropped in 2012. I’m giving him credit for shifting him from automatic to stick shift and putting them both in charge of the different gears.

Kiwanuka is the best pure R&B/Soul album this year. The crescendos of instruments mixing with background singers that give way to the single brooding voice of our narrator on Living In Denial take their place in the history of music. At fifty one minutes and thirteen seconds with fourteen tracks, the average length of song is about a minute and a half longer than your supposed to provide in 2019. Kiwanuka is not consciously bucking conventions; Hero is certainly a radio friendly song and You Ain’t A Problem as well as Rolling are danceable. The great albums set their own tone and make you adjust. Whether it fits in the musical landscape or not. The day it came out a friend of mine texted me saying simply “This Kiwanuka is special.” I can’t find a better way to sum it up.

Stream or purchase below:

https://michaelsamuelkiwanuka.bandcamp.com/album/kiwanuka

My Favorite Album of 2019

My Favorite Album of 2019

by Dan-O

How much do I love Jidenna? I’m not even worried about what drops in the rest of November and December. Bring Frank Ocean, Drake, bring a thousand Future features! None of it will replace the uniquely fly experience of listening to 85 To Africa. My excitement for his music might come from the fact that I never cared about Classic Man. I didn’t have him in my head as anything. First time I saw him work was when he torched his performance on Luke Cage.  In 2017, he dropped The Chief and I think Pitchfork called him a “Versatile Dandy” which is the meanest compliment an English major is comfortable with.

The Chief is dope but it has a mix of songs. Some that are perfect 10’s (Trampoline, Bambi, Long Live The Chief) some that are darn good 7’s (Helicopters/Beware, The Let Out) while some are emphatically unimportant and you won’t ever come back to (last 2 songs). It got knocked for its unevenness but I always thought of it as the home run derby where the power hitter gets to flex. I was excited at what he was capable of doing.

85 To Africa doesn’t go from 10 to 7 to 4, every song is an 8.5 and you can let one song run into the next. Can’t go wrong with a triumphant intro featuring the words of the legendary Fela Kuti’s youngest son (Seun Kuti). Like a lot of the years best projects(BandanaKiwanuka,Anger ManagementRetropolitan)  this one is born from the synergistic relationship between producer and MC/singer. Nana Kwabena is listed as producer or co-producer on 10 of the 11 songs. He did 13 of 14 on The Chief. The flavor is even more consistent this time, dope artists growing together is fun. 85 To Africa decided to leave nothing extra. It is 41 minutes and out. Personality wise the album doesn’t care if you think the party is too loud. You might hear him talk about how he didn’t trust Morgan Freeman because of his earing (Babouche) or look at the cover or hear the powerfully catchy beats and think 1. This guy is trying too hard 2. These bars are too cute 3. He thinks he’s cool and I hate that.

I know he doesn’t care because the hottest Jidenna line of all time is “I don’t want my best dressed day in a casket.” He’s dedicated his time to feeling looking and living good in a way that makes him proud. On Tribe, he is espousing his crew but not in a waving guns at the other side sense. He’s flossing the culture, in the video he walks through rooms where games are played weights are lifted and he’s rapping about the varied “funky ways of dancing.” If the Cary Grant cool is too much then be gone and find someone less intimidating or more gritty to bump. Jidenna wants all the bright beautiful colors mixing because what is this all for if we aren’t appreciating the different shades? Not just skin or cultural background but of intellectual oddity, strength and essence. Strong shout out to DJ Burn One who also was involved in the utter head nod capacity of this beat. Five Points Music always.

 

The songs get prettier and prettier. Is it an escape, reading Rumi with a fly Sufi Woman? Comfortably falling asleep with her? Or heeding Jidenna’s voice as it echoes and the music stomps, shakes, and sweats on Pretty & Afraid. Thinking of it as an escape pre-supposes that the best music must suffer as the world does. It leaves suffering as the only part that’s real and paints all the smiling as a big cover up. Artificial light is bad for you but honest light replaces darkness with not just sight but clarity. If you make the suffering all that is real it is all you will have.

I hope I wasn’t the only one who sang loudly “Pop, I’m working all night JUST LIKE YOU!” as he walked us through his parents relationship (as well as his childhood) on Jungle Fever. I made fun of Pitchfork earlier but their review of this album ends with a begrudging acknowledgement that they are onto something. My 5th favorite album of this year is Burna Boy-African Giant which is monstrously catchy creative and fun Afropop in a similar sonic language. I know next to NOTHING about African music but I can see the shadow of a wave as it starts to break. Jidenna is calmly atop this one synthesizing the best parts of large sections of American and African music into something that is new and radio ready.  Nana Kwabena and Jidenna have been looking for this balance since Classic Man and in 2019 they hit on its head. May their next move be their best move.

 

 

#BandcampGold-1990 by Amerigo Gazaway & Xiomara

#BandcampGold-1990 by Amerigo Gazaway & Xiomara

by Dan-O

I used to burn cd compilations of 90’s R & B. They were semi-notorious amongst my crew (Army stuff). I called the series “Booty Music” because the 90’s were the first decade where the music said what it meant. As richly political and social as 70’s R & B remains those guys could only say so much. Aside from Between The Sheets by The Isley’s the lens is big picture not hardcore sensual.

The new album 1990 nails what was so unique about that decade in the genre.  The producer of all thirteen tracks is Amerigo Gazaway who is the master of mash-ups. If you know the careers of the artists he is mixing, he picks and matches up from deep within catalogs. This dude knows more about music than I ever will so it is a joy to learn from his new releases. I have never heard of West Coast singer Xiomara but she really hunkers down and provides beautiful delivery of very well written songs.

1990 does such a great job stretching out in all the trailblazing directions the decade explored. Some of the songs influences are quite clear. After the initial interlude we go right into a West Coast New Jack Swing tribute(Westside Swing). This is where I shout out Xiomara who shows herself to be surprisingly comfortable in different sonic environments. Her strong diction and clear vocal leadership hold everything together and keep this from being cheeky nostalgia. Bounce is a gorgeously blown kiss to the Timbaland/Missy/Ginuwine/Aaliyah explosion that tore music down and rebuilt it. SNL is still doing skits about the Pony beat. At the end it slows down into a DJ Screw pace and you realize again how damn good Gazaway is.

The best songs on the project aren’t as directly referential and are more powerful for it. That Old Alarm is one of the finest R & B songs in the genre this year. It knocks and is haunting at the same time building on weird strings and strong drums. Xiomara drifts overtop talking about getting a loved one out of her head, knowing that it will be hard but once it is done she will be able to move on “don’t come chasin’ after me/ ringing that old alarm.” Can’t Let Go is a groove that finds and holds you so tight that when the beat drops out Xiomara and friends giggle their way through a weed based parody of the chorus.

Both participants understand that 1990’s R & B was primal and personal at the same time. The beat found your guts and made YOUR BODY ALL OVER MY BODY make sense. Xiomara grounds the project with lyrics sung with ownership. It isn’t nostalgia in that pure sense, it is what Sharon Jones did for late 60’s Soul. These two breathe new life into the vessel containing what we loved to bring us closer to what it meant. Recommend this to ANYONE who ever loved this era in music. Somewhere Drake and 40 are BUMPING this.

Stream or download 1990 below:

https://amerigo.bandcamp.com/album/1990

Song Review-Bail Bond by Mozzy & Gunplay

Song Review-Bail Bond by Mozzy & Gunplay

by Dan-O

The story of this partnership is an one for the history books. Gunplay is a top 5 all time rap crew guy. Fought all of G-unit by himself for the MMG team, went on the lamb came back dropped a great album. Truth is, he was never going to patiently wait for the rotation of major label push to go from Ross to Meek to Wale to him. So after an amicable exit (he still kills his guest spot on Port of Miami 2) he went West.

Mozzy works different. His beats are economically constructed West Coast slappers and he pumps out dope song after dope song. If your a fan you always have something new to chew on. Gunplay took to it like a man finally unleashed. The two have been pumping out GRIMY collaborative albums with lyrics so hardcore they can be stymieing. Bail Bond is the perfect table setter for 2019’s best GOON rap album (Chop Stixx & Banana Clips). When Gunplay said ” My dog gon’ tell you he done died three times/Over one bad bitch, a brick and three dimes.” I made a promise to myself if I ever meet Gunplay I have to ask him for that full story.

Both of these guys are old enough to know a hardcore life is hard to live. This isn’t a joyride through street cred. Both of them know prison like you don’t, know being hunted like you never will. Listening to them is not just great it is instructive. Mozzy can put you in the scene where they are yelling “free the team” while doing business with the enemies your locked up for riding on. The world leaves you cold and alone in lock up and even those who love you the most, move on. You lose something and I can never describe it because I haven’t lived it. Gunplay and Mozzy paint pictures so you can see the crook’s whole journey, not just the sentence.

 

Ranked Discography: Wale (album) edition

220px-Wale_-_Wow_That's_Crazy

Ranked Discography: Wale (album) edition

by Dan-O

I saw Wale live in Boston in 2008 as the opener in a Rock The Bells concert that changed my wife’s relationship to hip hop forever. He did his song Nike Boots and explained the meaning of it before he performed it. The crowd was doing the festival opener thing, ‘It’s a long show and I don’t know this dude so I’m stocking up on drinks/food’. I was looking around as he performed saying “Why don’t they know how great this song is?!” Wale didn’t get sour or go half steam he was still great but that was the first time I thought…the crowd is taking him for granted. It’s become a recurring theme.

He dropped a new album on 10/11/2019 called Wow…That’s Crazy and it is EASILY the second best album he’s ever made. Doing a career breakdown of the DMV god is not easy since he is a pop rap heavyweight as well as a mixtape hall of famer. For now, I would like to give an updated ranking of his proper albums.

  1. Ambition (released 11/01/2011)-One of the five most authentically urgent hip hop albums I’ve heard in the last twenty years. By authentic it needs to be said that Wale is not a fake tough guy. Ambition is about focus, being locked in and refusing failure but he doesn’t pretend murder or drug deal in order to do it. As he says in Double M Genius “The remedy is get your hustle on.” Wow…That’s Crazy is about finding comfort within yourself and ,on the other end of that, joy. Ambition is gritted teeth and tense muscles bubbling over with the burning passion to be the literal best. Miami Nights is still a fun song about living luxurious and Lotus Flower Bomb is every inch the radio hit you remember but every other song flexes a relentless drive for achievement. My favorite lyrical achievement of his career is every word of the song Legendary. “It’s something to be great. It’s nothing to be famous.” “My only fear is mediocrity.” It is a song (and by extent an album) of flow pushed to the limit, bars that honestly admit he has growth to do and seeks nothing else but to do it. “This is anti-Mark McGwire: it takes patience for power.” It would take a lot for Wale to push beyond Ambition but the wildest thing about Wale is you can never find his ceiling, so it could happen.
  2. Wow…That’s Crazy(released 10/11/2019)-I love this album as much as I hate the title. It distills all of the important themes of Wale’s albums and presents them thoughtfully while having fun. On his first album he had songs like Shades about beautiful black women on Wow…That’s Crazy he makes BGM and turns his love into an anthem. He still says devastating things like “Showbusiness will never love you the way you love it (Sue Me).” Which point to the frustration we know he’s been through but he navigates the content with a confident looseness and dexterity. The features are bonkers from Bryson Tiller, Kelly Price, Ari Lennox, Boogie, Meek Mill, Jacquees, Megan Thee Stallion, 6lack, Jeremih. It is the greatest collection of R & B features on a 2019 rap album bar none. The album is about letting go of the anxiety related to perception of him. That balloon on the cover has crazy written on it and he’s watching float away. Not that he’s finally found a way to feel fulfilled as  a fly, mentally ill, smacktalker but he’s closer than he’s ever been and his craft is on another level.
  3. The Album About Nothing(released 03/25/2015)-Wale is a brilliant dude. Like every one of those I’ve known his thoughts easily scatter. It’s no accident his top three albums all express a definite composed theme. They can be considered concept albums if you want. It’s a track for his train of thought to ride on that pulls together all the threads of what he wants to discuss and Seinfeld is a wonderful mechanism for that (Best SZA feature of her career on The Need To Know).
  4. The Gifted(released 06/25/2013)-Pitchfork gave this a 5.1, Spin a 6. We were all confused. We heard The Dap-Kings mentioned and thought live instrumentation would give birth to a catchy loving soul-rap album. If you let go of all that and listen on the albums own terms it’s very good. Wale smashes a top notch Just Blaze beat on 88. Drops a mean trap paced collab with Wiz and 2 Chainz (Rotation). As a Wale album it’s very well organized and hits that nice range from pop hits (Bad remix or regular with Rihanna or Tiara Thomas) to nasty rap club jam (Clappers with Nicki Minaj & Juicy J). We all thought he was going to do a John Legend with The Roots type thing but that wouldn’t have made any sense for his skill set.
  5. Shine(released 04/28/2017)-I was very down on Shine when it came out. Upon relisten…some good stuff on there. Scarface Rozay Gotti is hardcore headnod music, Mathematics is ill, Running Back with Wayne is fire. The problem: the music isn’t unified enough within structure that allows it to become a single story. Fashion Week and Fish N Grits just don’t belong on the same album together.
  6. Attention Deficit(released 11/07/2009)-This one holds a special place for some people and I want to respect that. This is not who Wale was meant to be. Attention Deficit is who the underground ,he had trafficked in to that point, wanted him to be. Too many jazzy boom bap beats that just aren’t enough. Wale was meant for pop rap chart stardom. The backpack sound of Mama Told Me or Contemplate is not what he isn’t his canvas. He stretched into trap, African musical influences, MMG luxury rap, R & B and it jarred the audience that loves this album. Every artists dream is to break through their high points so that their best work is their new work. Wale’s growth has come in Savage strides that are not always easy to keep up with (See The Gifted). If Attention Deficit is your favorite because of where you were in your life when you heard it- hold that and enjoy it. If we are being clinical- he outgrew this one.

 

My wife found out I had been living in Wale’s discography to research this piece and remarked “I didn’t know you liked Wale…like THAT.” Before he dropped Wow…That’s Crazy I may not have known how dedicated to his development I’ve been over the past eleven years. I really believe the longer his career goes the more history will vindicate him. He’s shown a clear desire to sharpen his skills through hard work and his skills are profound at this point.