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“…a shotgun blast to the face.”

Run The Jewels thrives on the spirit of rebellion. The duo, consisting of Atlanta rapper Killer Mike and New York rapper/producer El-P, has grown from indie one-off to one of the most impressive second winds in rap history. Their music finds the middle ground between cartoonish purist rap thrills and anarchic grit. At their very best, Mike and El-P will have you ready to burn everything in sight.

While RTJ’s music has always maintained an anti-establishment bent, the aggression on their 2016 album Run the Jewels 3, in particular, was channeled through the prism of revolt. In the wake of the deaths of Trayvon Martin and Michael Brown and the election of the 45th President of the United States, RTJ’s lawless spirit made them, however unintentionally, uniquely suited to address a world coming apart at the seams.

In the face of Armageddon, RTJ’s message hit differently. Four years later, with another wave of protests taking place in response to Black death looming large over the world, Run the Jewels are offering their fourth album, aptly titled RTJ4. 

The public needs music directly speaking to the times. Mike and El’s timing is perfect; the stakes have never been higher. Let’s see if the Jewel Runners are up to the challenge.

In usual 1-Listen fashion, the rules are the same: no rewinds, pauses, or skips—a straight shot through followed by my gut reactions. Let’s ride.

1. “Yankee & The Brave (ep. 4)”

Killer Mike opening with DaBaby speed. Man, these drums are THUMPING. “I’mma terrorize the actors playing like they want some drama.” No holds barred. Mike and El-P play rap hot potato like no other. El is floating. “I’m ready to mob on all these charlatans.” The beat sounds like a John Carpenter score stripped for parts and hooked to some boomers. “I can’t let the pig take me, I got too much pride / I meant it when I said it, never take me alive.” This exact energy is what I was hoping for. Revolt music right off rip. No brakes, all nitrous. “Yankee & The Brave” is how you open an album.

2. “Ooh LA LA” feat. Greg Nice & DJ Premier

Did El-P source his drums from fucking mortars? These boys are monstrous. El’s beats are big enough to walk through. I don’t like this hook. Greg Nice’s voice is grating. “When we usher in chaos, remember we did it smiling.” They may be smiling, but Mike and El sound pissed. “Ooh LA LA” isn’t playful music; it’s angry. This song doesn’t leave me shaking the way “Yankee & The Brave” did, but it’s still a nice jolt of catharsis. Premier scratches are always a plus. I’m glad he’s still so revered by rappers across generations.

3. “Out of Sight” feat. 2 Chainz

El-P made a beat out of jumping vocal cuts that would sound at home on a post-apocalyptic workout tape. He never fails to impress. I love hearing references to Public Enemy’s “My Uzi Weighs A Ton.” Mike and El are trading off lines. “I’m only doing what I want by hocking loogies at the swine.” I see why they wanted to push this project up two days. Forget “F*ck The Police,” this is FUCK THE FUCKING COPS. Mike caught a CRAZY flow and held onto it forever. The energy is stabbing me in the chest. If you’ve ever downed a bag of Pop Rocks with nails inside, then, and only then, will you understand the power of “Out Of Sight.” Here comes 2 Chainz. One mention of growing up in poverty, but the rest of his verse is just soulless flexing. It’s not 2 Chainz’ fault, but I’m not tryna hear his verse right now.

4. “Holy Calamafuck”

A reggae sample to start things off. And everything just devolved into a 404 error. The beat is actively falling apart. A line about jacking Supreme jackets and calling out hypebeasts. Are those record scratches or Windows 95 program glitches? I can’t keep my head straight. A line about drones and time elves. “Every other goddamn year I’m brand new / It’s been 20-plus years, you think that’s a clue?” TALK YOUR SHIT, EL. Since the Def Jux days. Mike and El stood the test of time, gotta respect it. These two were born to rap together. “PTSD, streets did the damage.” Mike is pouring his heart out. If the streets run red with blood, “Holy Calamafuck” will be the soundtrack.

5. “Goonies vs. E.T.”

These drums and synths were sourced from space. Mike and El are rapping for their lives. “Goonies vs. E.T.” is pure fucking chaos. How did they keep their heads together recording over this beat? E.T.’s healing touch couldn’t help them. The hook’s not doing much for me—it feels like dead space—but the beat is breathing. Man, this shit is manic. I’m on a sugar high. “The revolution is televised and digitized.” All facts. Mike has one of the most potent rap voices. I can’t see his face, but I know there’s fire in his eyes. “This is people with an attitude in Beverly Hills.” Making people uncomfortable is progress.

6. “Walking In The Snow”

A nice crunchy guitar riff to incite more chaos. The beat just cracked open, and now it sounds like a fucking Tesla coil. I feel more compelled to type the word “fuck” than I ever have during a review. “All oppression’s borne of lies.” El has been talking that talk all across this shit. El sounds like a preacher. “Just got done walking in the snow / Goddamn that muhfucka cold.” Who’s rapping on the hook? OH SHIT, IT’S GANGSTA BOO. Nice surprise. OG needs more love. “Every day on the evening news, they feed you fear for free.” Mike is laying everything out. “I can’t breathe.” That line really hurt. “The most you get is a Twitter rant and called a tragedy.” He’s just talking at this point. Brutal. I know he was fighting back the tears rapping this one. The beat is mutating like crazy. I can’t keep up—breathless rap music at its finest. I love love LOVE this song, holy shit.

7. “Ju$t” feat. Zach De La Rocha & Pharrell Williams

It’s the famous four-count! Pharrell must’ve had a hand in production along with El-P. Pharrell’s voice doesn’t fit into the cracks of this hook; it’s distracting. “Look at all these slave masters posing on your dollar.” Mike is doing call-and-response with himself. He’s talking about corporations co-opting marijuana and pedophiles in high places. “Confuscious say you’d better thug out.” That got me. El has a thing for turning voices into drum patterns. These beats are fun but they will also turn around and rip your throat out if you try them. Here comes Mr. Rage himself, Zach De La Rocha. His voice cuts through everything. I love how analog his voice sounds. He sounds fired up. I’ll take another Rage Against the Machine album, please. Without Pharrell, “Ju$t” would be close to perfect.

8. “Never Look Back”

A little techno bounce to start “Never Look Back.” All I can see in my head is Tron light cycles burning digitized vapors. Was that a Pop Smoke bar? His death still hurts. Mike and El managing to rap about current events and not sound lame is amazing. No other rapper their age could pull off a TikTok bar. Mike is rapping about his mother. Did she pass? Man, that’s heavy. So that’s why it’s called “Never Look Back.” “All that matter is gratitude. Gratitude is everything.” Who’s speaking right now? Can’t make it out. El is talking about how he never saw class or race as a child. Mike follows with, “Never look back, you’ll only be bitter / If you get bitter, you’ll never get better.” They’re confronting demons. RTJ4 feels as immediate and punchy as Mike and El’s respective solo work. Ending with a ticking timer, always coming through with the relief.

9. “The Ground Below”

Is this nu-metal I’m hearing? These guitars and smashing drums are super silly, even by RTJ standards. They rapping, though. “Screaming fuck the world and you can drink what’s coming from my urethra.” El always knows how to rap familiar shit differently. “Not saying it’s a conspiracy but you’re all against me.” Funny. A weird melange of sounds and images, and I’m not sure what to make of it. The raps are crazy, and the beat is kinda growing on me. Easy to believe them saying, “The money never meant much” when they’ve been giving out their albums for free since 2013.

10. “Pulling The Pin” feat. Josh Homme & Mavis Staples

Okay, last two tracks. If you’re gonna name a track “Pulling The Pin,” there’d better be an explosion. Ominous marching and some warbled vocals. “These old foxes got a lot of plots to outfox us.” El hit that Aesop Rock flow real quick. Those chorus vocals are ghostly. Josh Homme is a name I haven’t heard in a long time. Shout out Queens of The Stone Age. “Every cage built needs an occupant.” Is that Mavis Staples? It is! Her vocals are so rich. Staples finding space in this interstellar mayhem is wild. Mavis is my favorite feature so far. There’s much less frivolous shit-talking this time, especially from Mike. “Kicking and screaming while watching the demons collecting the gold and the diamond residuals.” Career-best rapping from Mike. More Mavis, thank God. “There’s a grenade in my heart.”

11. “A Few Words for The Firing Squad (Radiation)”

RTJ4 has been a ride. Ending with the firing squad can’t be a good sign. El starts with a short tribute to his wife. Touching. Mike back to rapping about asking his mom to cling to life. His kids, his wife, and his craft have made him a better man. These are death-bed confessions set to music. Mike and El must be rapping blindfolded, standing in front of the wall and the firing squad. Heartbreaking. “Last word to the firing squad was ‘Fuck you, too.’” Kicking and screaming. It sounds like we’re going out with a big instrumental explosion—saxophone, brass, and reverbed synths and choirs. This is BIG.

Where do Mike and El find the energy to keep expanding their sound like this?

Oh, we’re not done yet.

A narrator is laying down the story of two rebels forced together by the odds. They’re still running with this Yankee & The Brave angle. It’s playing like an end credits song. So… The whole thing’s been a TV show? I’ll admit, this takes away some from the immediacy of Mike and El’s message.

Final (First Listen) Thoughts On Run the Jewels’ RTJ4:

Run the Jewels dropping their fourth album in the middle of a global pandemic and a nationwide uprising is perfect.

The duo crafted a potent mix of braggadocio and political and personal reflection set to beats made for video game boss battles. Both Mike and El deliver career-best work behind the mic, and El-P’s production has only grown more expansive.

Golden-era boom-bap (“Out of Sight,” “Holy Calamafuck”), and murky synth-scapes (“Never Look Back”) are flayed and split open to create digitized warzones. They’re as frantic and restless as the rappers pushing them to their limits.

From beginning to end, RTJ4 is a shotgun blast to the face; an album to turn up to 11 while the precincts burn. Pent-up emotions shoot through every bar, every beat, and every second of breathing room. The anti-police sentiment couldn’t be more timely.

The only time the momentum drags on RTJ4 is when other voices cram into the frame. Several features are either inappropriate (2 Chainz on “Out of Sight”) or distracting (Pharrell on “Ju$t”).

Unintentionally, the running motif of the Yankee & The Brave TV show stifles some of the immediacy from Mike and El’s best verses to date. Maybe the TV show angle will age better in a world where the president didn’t just declare war on his fellow citizens.

Minor missteps aside, Mike and EL understand the stakes at hand. RTJ4 mixes the punchy and the profoundly personal with cartoonish zeal, EPMD by way of Adult Swim’s Superjail! 

Politically and musically, Run the Jewels are done asking for favors. RTJ4 is five-finger discount rap at its finest.

“…brass knuckle lyricism.”

Freddie Gibbs could teach a masterclass on consistency in hip-hop. After spending the better part of the last decade dominating all kinds of production, from chipmunk soul to aggressive trap, the 37-year-old turned into one of the best technical rappers in the business. 

Freddie’s newly released album, Alfredo, is produced entirely by The Alchemist, who also produced Fetti, his 2018 collaborative album with Curren$y. With features from Rick Ross, Benny The Butcher, Conway the Machine, and Tyler, The Creator, Alfredo is a welcome surprise.

If Freddie Gibbs continues his streak as one of hip-hop’s most consistent lyricists, Alfredo could be one of the most-talked-about albums of 2020. 

In usual 1-Listen album review fashion, the rules are the same: no skipping, no fast-forwarding, no rewinding, and no stopping. Each song will receive my gut reaction from start to finish.

1. “1985”

Bernie Mac! It’s a good day to rewatch The Original Kings of Comedy. The production is majestic. These guitar riffs are dripping in gold. Here’s Gibbs. He is rapping with gusto. “I can smell the cane burning.” Does JAY-Z listen to Freddie Gibbs? I imagine he has a playlist with only songs from Freddie Gibbs and Clipse. “All my raps in the crack files.” Big drug dealer talk. Great intro. 

2. “God Is Perfect”

Alchemist beats are patient. I love Gibbs’ cadence and delivery. His flow is so sharp. He jumps on beats and always finds a way to stomp on the pocket. The second verse is vicious. Such vivid lyricism. Does he write down his raps? He has a fluid style; it never sounds like he’s overthinking. His rapping sounds instinctive, but it’s also so detailed. “God Is Perfect” is a keeper. A last-second beat switch. No rapping, but a smooth close with another movie clip. 

3. “Scottie Beam” feat. Rick Ross

Alchemist made a beat that sounds like a rainy day inside of a jazz bar. It’s so elegant. Freddie came to rap. More vivid lyricism. Clear illustration. I saw the line from Queen & Slim coming, but he still landed the dismount. “The revolution is the genocide, my execution might be televised.” He’s on fire. Using Judas/Jesus as an example of betrayal never gets old. “I really want me a Scottie Beam.” Rick Ross sounds like he just walked in the booth in a Versace robe with matching Versace slippers and du-rag. Ross is rapping. He’s back in that Rather You Than Me bag. My favorite kind of Ross. Luxury raps. Someone tell Alchemist to send Ross the pack. Need that. Keeper. 

4. “Look At Me”

Alfredo has good pacing. Every song has moved seamlessly into the next. No skips. Each beat and every rap has been up to par. “Look At Me” has a rather slow build-up. I like it, though. Gibbs with the Wu-Tang nod. This record is good. It’s way looser than the previous records. The lucidness isn’t bad. Not my favorite, but a keeper. 

5. “Frank Lucas” feat. Benny The Butcher

This one is dirty. You can hear the roaches scurrying. “Frank Lucas” sounds like super-villainy. Gibbs is rapping rapping. The George Jetson line took me out. He’s knocking this one out. “My name Cocaine, they not putting me on the nominees.” This record is big, big rap talk. Benny The Butcher. He raps like a man living up to his name. “It was either law school or dog food.” This verse is murder. The Butcher did what he needed to do. He’s still going. Keeper. Currently, the bar for the best. 

6. “Something to Rap About” feat. Tyler, The Creator

I love these keys. “God made me sell crack, so I’d have something to rap about.” “Something to Rap About” is whimsical. Gibbs doesn’t take himself too seriously, but he won’t let you take him lightly. That sense of self makes him powerful. Every line is vivid. He would be great at writing screenplays. The Creator has arrived. He said this beat sounds like the boat he hasn’t bought yet. Tyler is spitting. These songs just keep getting better. “I used to be a Goblin under those bridges.” He’s on a rant. He held the flow, though. He’s getting it off his chest. “I’m grounded like the pavement, we ain’t linking like the bracelet.” One take. Tyler danced. That kid is a killer. Keeper.

7. “Baby $hit”

Second best song title on the album. A nice tempo. “Baby $hit” has some bounce. Rapid-fire Gibbs. “Got a pocket full of dead slave masters.” He’s on fire. A strong, strong verse. Man, Gibbs’ delivery is so pointed. Keeper. Another movie clip. I wonder if they had to clear all of these. [Editor’s Note: Movie clips must be cleared for commercial use.] Each clip makes the album feel even more cinematic. A moving picture.

8. “Babies & Fools” feat. Conway The Machine 

Smooth! The sample escapes me, but this is a classic. Yep! He’s going for the trophies. Alchemist gave Gibbs the perfect pack. I wonder how many beats they went through. No skips yet. As far as albums go, Alfredo sounds like a complete body of work. They avoided all the superfluous touches that weigh albums down. Conway! He came to represent. “Call it crazy, but I always knew I would bounce back this hard.” Quotables all across this album. Every featured guest is rapping like it’s their song. “I rep my niggas every verse that I rap.” Keeper. Alchemist doesn’t miss. 

9. “Skinny Suge”

Best song title on the album. Slow build-up. “Skinny Suge” is heavy. Gibbs sounds like the evolved form of Tupac. Hear me out. All I’m saying is his cadence and passion remind me of Pac. From my perspective, if Pac would’ve lived, his style would be similar to how Gibbs raps. “A skinny black nigga, rich off rap.” See. Pac would have said that, lol. Anyway, another keeper. Love the little touches at the end of every song. Alchemist gave us a soundscape. 

10. “All Glass” 

Last song. Can Gibbs go 10 for 10? Sounding like it. “All Glass” isn’t my favorite beat on Alfredo, but he’s rapping. Whew. Bar after bar. This record is a church. “Yeezy’s on, but I ain’t never seen a Sunday service.” The André 3000/Caroline line got me. He’s going for gold. That’s how you close it out. Ten keepers. 

Final (First Listen) Thoughts on Freddie Gibbs and The Alchemist’s Alfredo

Freddie Gibbs is brass knuckle lyricism. He strikes with a boxer’s tenacity without ever burning out—spitting line after line like a heavyweight who throws haymaker after haymaker as if they were jabs. But there’s also a storytelling bent to Freddie Gibbs, one that shapes his punchy songs into short cinema. 

On Alfredo, Gibbs performs as a rap Olympian. From a writing perspective, the 10 songs all paint him as a top tier wordsmith. It’s a testament to his craft, but also to The Alchemist, who delivered the perfect set of beats, inspiring high-level rapping. Every rapper who appears on Alfredo does not slack. There isn’t a single moment dulling the ears. 

Alfredo is well-rounded and sharp; an album with no skips served up by a rapper and producer who understand what it means to deliver a quality product. 

Alfredo is quality rap at its finest.

Young M.A’s ‘Red Flu’ is an ideal offering from the Brooklyn rap star.

Brooklyn rapper Young M.A gained breakout success with her four-times Platinum single, “OOOUUU,” granting the 28-year-old lyricist fame and celebrity throughout the music industry for rhyming with captivating wit and heart-melting charm.

Since “OOOUUU,” Young M.A, born Katorah Marrero, has been selective with the music she outputs. The release of her 2019 debut album, Herstory in the Making, came several years later than expected. It’s a well-rounded project that peaked No. 16 on US Billboard Hot 200. Now, eight months later, Young M.A returns with Red Flu, a seven-track EP with no features, produced by Mike Zombie (five songs), Benjamin Lasnier (one song), and NY Bangers (one song).

Once a rapper catches a hit, the looming question around their name will always be: Where’s the next one? Young M.A is back; will she take over the world again? With everyone at home, this is the perfect time for an unexpected comeback.

In usual 1-Listen album review fashion, the rules are the same: no skipping, no fast-forwarding, no rewinding, and no stopping. Each song will receive my gut reaction from start to finish. 

1. “Dripset”

Zombie on the Track but without the typical trap sound. I like how full this feels. Young M.A is here, and she’s sliding. The amount of confidence she rhymes with should be packaged and sold like Gatorade. One of the most unbothered flows in all of rap. Boss talk. Young M.A does not have time for your feelings. I love the Dipset/Juelz Santana nod. Santana was one of my favorite rappers from 2005 to 2009. I like how free-flowing “Dripset” is. “Drinking Henny just to numb the pain.” I can see this playing in the background of so many IG and Snapchat stories. “15 niggas deep,” sheesh. I wouldn’t go anywhere with 15 people right now. Good intro. Good beat. Strong writing. I’d run it back.

2. “Quarantine Party”

The build-up sounds like a beat made on a toy xylophone. I like this. Zombie and M.A are an interesting duo. He gave her all the beats that Drake didn’t get after “Started From The Bottom.” M.A is lively, rapping with a lot of charisma. It’s so free-flowing. She’s a natural rhymer. “Quarantine Party” lives up to the title. This is a fun record, but how fun can a quarantine party be? One cough and the whole thing is done. A little Bad Boy homage to close us out. Another good one.

3. “Trap Or Cap”

Subtle keys. All of Zombie’s beats build up nicely. I like M.A’s lax nature. She’s in no rush to start rapping. Oh, this has bite; this is a rap rant. “Chasing cheese, I’m out here chasing green, you either trap or die.” She’s talking that talk. Young M.A said you either trapping or capping, one or the other. I like how every word is precise; she came to preach. Someone get Rick Ross and Jeezy on “Trap Or Cap” for a remix. Also, tell Jeezy we need BMF raps only. Keeper.

4. “Angel vs Demons”

So far, so good. All the songs have been strong. “I’m back to my habits, back to my ways.” “Angel vs Demons” sounds like an AM/PM freestyle. This is good. Not in love with the singing, but the lyricism is self-reflective and has a lot of heart. “Call me a bitch all you want, just know that bitch in charge.” Big rapper talk! It’s nice to hear her so sure of herself. Maintaining confidence will make or break a rapper. You can always hear the sound of shattered confidence. Young M.A doesn’t have a scratch on her armor.

5. “Savage Mode”

“Savage Mode” is bursting with energy. More stream-of-consciousness rap. Whoever mixed this EP did a good job, it’s a cleaner mix than her debut. There’s a clarity to her lyricism that I appreciate. With so many squeaky voices in rap, it’s easy to forget the importance of enunciation. “Credit is fixed now, money we flip now.” Young M.A said she ain’t going back to broke, and she sounds like it. Keeper.

6. “Bad Bitch Anthem”

The hit has arrived. Zombie’s price just went up. It’s a wrap. “Bad Bitch Anthem” is formulated to be everywhere. TikTok, IG, Twitter, wherever. If she put Megan Thee Stallion on the remix, she’ll have them twerking on Mars. It’s been a solid year for women anthems. Make sure Lana Del Rey doesn’t find out about this one.

7. “2020 Vision”

“The plan is to triple my cash and shit on my past.” That is the new American Dream. The rapping here is sharp. She is a giant. Young M.A raps like she steps on people for fun. Her and Rico Nasty would make a dangerous duo. “2020 Vision” is a good song. Strong from start to finish.

Final (First Listen) Thoughts on Young M.A’s Red Flu 

Young M.A’s Red Flu is an ideal offering from the Brooklyn rap star. She keeps the songs short, but attention-grabbing. Lyrically, she’s still witty and charming, but there’s a maturity to M.A now. She lives like a boss and raps like a boss, too. Every line is either reflecting on how her life changed, what she doesn’t have time for, or what she’s working toward. 

The Young M.A who appears on Red Flu reminds me of Rick Ross and how he was able to mold his confidence and charisma into a Teflon persona. After the release of his second album, Rick Ross made you feel like no one could stop him, and that’s what Red Flu represents for Young M.A. 

Red Flu is about the feeling of being unstoppable. Pandemic or not, Young M.A is on top.

‘BLAME IT ON BABY’ is an album that says, “I’m on the way,” not, “I have arrived.”

DaBaby, born Jonathan Kirk, lives life full-throttle. He raps fast; he lives fast. He is the antithesis of stillness. Following the release of two commercially successful albums―Baby on Baby and KIRK―the Charlotte, North Carolina native is positioned to take over the music industry.

Although it’s only been seven months since the release of KIRK and the success of popular singles “BOP” and “VIBEZ,” DaBaby returns to the spotlight with BLAME IT ON BABY, a new album featuring Future, Megan Thee Stallion, Roddy Ricch, and more.

The decision to release BLAME IT ON BABY now—the cover is the first to acknowledge the COVID-19 pandemic—means DaBaby will forever be associated with this moment in human history. When hip-hop looks back on 2020 and the months of quarantine, they’ll remember DaBaby releasing BLAME IT ON BABY, and how the album made them feel. At least, that should have been DaBaby’s goal when he decided to unleash the project.

In usual 1-Listen fashion, the rules are the same: no skipping, no fast-forwarding, no rewinding, and no stopping. Each song will receive my gut reaction from start to finish. 

1. “CAN’T STOP”

DaBaby has arrived. “Ain’t no stopping a nigga like me.” He’s talking that talk. He breathes confidence. I like the production. It’s airy. A subtle bounce. He’s feeling himself. He’s a rapper on fire. “I only answer to God.” “CAN’T STOP” sounds like it was recorded after a soldout show in Madison Square Garden. I like it. Verse two is refreshing. Not as explosive as the first. Brag raps. Big brags. “When I get in my feelings, I make niggas feel it.” That was a strong, “Bitch ass nigga.” This is a man I wouldn’t try to stop. Juggernaut rap. DaBaby is a rap giant. 

2. “PICK UP” feat. Quavo

“PICK UP” is slower. Kind of ambient with a bounce. Interesting. He sounds like he’s rapping slower, taking his time. “I look better in person.” Ha. He glows confidence. “PICK UP” is cool. I’m not sure who made this beat, but… Quavo! Quavo raps like a professional football coach. I mean that in the best way. A man on the field, commanding, the confidence of a leader. The Nick Saban of rap. I like him on this better than DaBaby. It feels more natural than the songs on Quavo’s solo album. “You already know I’m the goat.” Okay, sir. “PICK UP” is fine. 

3. “LIGHTSKIN SH*T” feat. Future & Jetsonmade

“LIGHTSKIN SH*T” doesn’t sound like a Jetson beat. A good bounce. DaBaby has a good melody, I can see it being popular on Instagram. There’s going to be some interesting discourse around this one. Future! Sonically, this is so bright for Future. I like Future’s voice on this. He sounds a bit like Thug. He’s talking that talk. “Hard to fall off I’m super relevant.” He killed it. “LIGHTSKIN SH*T” isn’t a bad song, but it’s not gripping. 

4. “TALK ABOUT IT”

Wheezy! Whew! “TALK ABOUT IT” is the one. Infectious. I love hearing the word “Jit” in rap songs. It’s so Southern. DaBaby is swagging. So much life. So much pride. “TALK ABOUT IT” is the song Drake should be on. Started from the bottom now I’m here rap. A keeper. He’s good, real good. “All a nigga know is hustle.” You want to follow him to the top.

5. “SAD SH*T”

“Let me do some sad shit.” Man, this record don’t sound sad. He’s singing. Is he trying to get his girl back? I don’t know what’s happening. He’s switching pitches. He sounds like a possessed Young Thug. Now he’s back on his pimping. Was that a Migo ad-lib? Nothing makes sense. Is that a vocal sample? How is this song still building? “You ever got your heart broken, nigga?” Man, what is happening. How is this song still going? DaBaby songs aren’t supposed to last this long. Where is Rich Homie Quan? If Rich Homie would’ve made this same song, I’d be crying in the club. “SAD SH*T” has too much performance to be sad. 

6. “FIND MY WAY”

“Wait a minute, who are you?” Ha, I like the drop. “FIND MY WAY” is boring. By far, the slowest DaBaby has ever sounded. The songs don’t progress with any purpose. He’s so still. “FIND MY WAY” isn’t saying much to me. That Melly line wasn’t it. I like the line about him being a hero. Man, skip.

7. “ROCKSTAR” feat. Roddy Ricch

I’m excited to hear Roddy. I know my sister-in-law is somewhere ecstatic. DaBaby leaning into this type of melodic rap creates the ideal setting for Roddy to skate. So far, “ROCKSTAR” is alright. A nice flow switch. The PTSD line got me. Oh man, he just mentioned the murder in Wal-Mart. Crazy. Roddy! The million-dollar voice. I hear so much music that sounds like him. He’s skating. He is Tony Hawk, and “ROCKSTAR” is his skatepark. “ROCKSTAR” is a fine song. It could be a big single, but I don’t feel compelled to hear it again.

8. “JUMP” feat. Youngboy Never Broke Again 

“Cha-ching.” The bounce! NBA YoungBoy has a voice that projects with charisma. Yeah, this is good. Real good. It’s a single. It’s going to be a Black Air Force 1 summer. Such an infectious song. “Made a song in 10 minutes and went platinum.” I love hearing DaBaby brag about his accomplishments. “I make it jump like crack in the ’80s.” Voices from Baton Rouge jump in your veins. Southern rappers have such a natural bounce in their voices. It’s a cheat code. Youngboy ate. Keeper. DaBaby’s second verse is charming. These two are a good combo. I didn’t expect much, but they align as if they were kindred spirits. 

9. “CHAMPION”

“Yeah, I took the cash route.” His words are embedded with passion. The melodic flow works for him. “CHAMPION” reminds me of Rich Homie Quan, but Quan was belting it out. DaBaby sings from the heart, but Rich Homie sang from the gut. DaBaby’s a champion. Rich Homie Quan was an angel.

10. “DROP” feat. A Boogie Wit Da Hoodie & London On Da Track,

I don’t like “DROP.” DaBaby’s singing is not selling a product I want to buy. He’s just not offering much here, and I’m not a fan of the production. A Boogie sounds more at home. So many artists sound like A Boogie. Or does A Boogie sound like so many artists? I can hear “DROP” on the radio. It’s not striking, but it’s kind of pleasant in a commercial rap way. “Why the fuck wouldn’t they want to rob me?” Well, that’s one way of putting it, Boogie. “DROP” is a skip.

11. “BLAME IT ON BABY”

Ahh! These keys. His voice. Yep, this is personality. This is speed. This is rhythm. Where was this energy!? He’s talking that talk. I have been waiting for “BLAME IT ON BABY” all album. Yep, yep, yep. “I know I’m on top, I’m a target.” He’s taking off. A rocket ship is taking off. “Slow down, slow down.” WHERE WAS THIS ALL ALBUM!? Jesus, man. Let’s go!

12. “NASTY” feat. Ashanti & Megan Thee Stallion

Of course, he sampled Ashanti’s “Baby.” This is cool. I imagine JaRule will appreciate this effort. I can hear “NASTY” on the radio. DaBaby reminds me of Ludacris at times. He’s a rapper with a striking personality who raps with vivid lyricism. Of course, London made this track. Megan! Oh, this a hit. If people could go outside, the day parties would eat this up. It’s so familiar. It’s so nasty. She gave DaBaby the verse “NASTY” needed. Tina Snow raps. “NASTY” worked better than I expected. I was worried it would be cheesy. I spoke too soon. Why is DaBaby still rapping? This song doesn’t need to be this long. Ashanti sounds fine, but I didn’t need additional vocals. “NASTY” could’ve ended three “babies” ago. Brevity people, brevity. 

13. “AMAZING GRACE”

“A nigga barely read the scripture, but I’m spiritual.” I like this. It’s honest. I’m not in love with the mix. I feel like a tighter mix would’ve made this one pop. There’s a rawness to “AMAZING GRACE”—a demo that was too good to record again. Not a grand finale, but a memorable one. 

Final (First Listen) Thoughts on DaBaby’s BLAME IT ON BABY:

DaBaby’s BLAME IT ON BABY is an interesting album. Musically and lyrically, the work is not a massive departure from the winning tricks and acrobatics that made Baby on Baby and KIRK successful releases. But, instead of introducing a new perspective or revealing anything about himself that we didn’t already know, DaBaby repeats familiar tropes alongside famous friends and over contemporary productions.  

At best, BLAME IT ON BABY reaffirms DaBaby has the charisma of a rap star. He has the voice, confidence, and style to be a giant among men. But does he have the songwriting? BLAME IT ON BABY, on first listen, makes you wonder. There are some high highs, like “NASTY,” “UP,” and “TALK ABOUT IT,” but, as an album, BLAME IT ON BABY isn’t undeniable. 

DaBaby is still a new artist. Emerging into his stardom. BLAME IT ON BABY is an album that says, “I’m on the way,” not, “I have arrived.”

Future’s ‘High Off Life’ is a familiar journey through a terrain of toxic lust, sleepless paranoia, wealthy boasts, and deep-seated trauma.

Hip-hop recognizes Future, born Nayvadius Wilburn, as a multi-Platinum, GRAMMY-winning trendsetter who doesn’t follow anyone’s rules but his own. Instead of working inside the industry, Future works around it, doing as he pleases from a mountain top built upon his tireless work ethic. Consistency, as much as talent, made him into a superstar.

So it should come as no surprise that Future decided to release his eighth studio album, High Off Life, during a pandemic. While some of his peers are waiting until the storm passes, Future moves forward, releasing new music as if unphased by the world’s tragic predicament. With features from Young Thug, Lil Uzi Vert, Drake, DaBaby, and more, High Off Life is the biggest release of the week, but will it be the best?

In usual 1-Listen album review fashion, the rules are the same: no skipping, no fast-forwarding, no rewinding, and no stopping. Each song will receive my gut reaction from start to finish.

1. “Trapped In The Sun”

The atmosphere feels like the beginning of an epic tale of a man turned monster. “That yellow Lambo outside.” Boss talk. Future makes trap music sound like Greek mythology. The bounce is infectious. The production could score a remake of Scarface. Brags on top of brags. Future is a super-villain, and he does not hide it. Future is in his mixtape bag. He has mastered “Former drug dealer who made it out of that life” lyricism, but I heard this story before. Strong start. Will revisit.

2. “HiTek Tek”

Let’s see where he goes. Banger! ATL Jacob tag! The bass would devour a weaker rapper. Future is like a toxic Energizer Bunny who loves any beat that makes him sound like he’s in the center of chaos. “I started off po, but not no mo.” He’s flexing like the rich rapper that he is. A lot of tricks. Future still finds the fun in rap. ATL Jacob is a beast. This song is full of sound effects. I laughed at him bragging about having the Glock on him while sitting courtside. Why sir? Why do you have that on you? The production reminds me of What A Time To Be Alive. This one is good.

3. “Touch The Sky”

Southside production. This is good. “Off the top rope, Andre the Giant.” Future is full of wealthy stunts. Is he one of the best braggers in rap? [Editor’s Note: Yes.] I’m loving this. “I can tell she got a man by the way she text me, nigga.” This man is a monster. “I perform with my drum” is a robust double entendre. Yeah, we have a keeper. I’m a sucker for Future and Southside collabs. These two are mad scientists wreaking havoc. Doctor Robotnik meets Shadow the Hedgehog. Future is the Shadow of hip-hop, and Drake is his Sonic.

4. “Solitaries” feat. Travis Scott

How many collabs does Future have with Travis? Wheezy tag! Shouts to Lil Wayne, lol. Future sounds lively. This man just said, “Coronavirus diamonds you can catch the flu.” Future is his name, outlandish is his language. Travis is getting to it. Not mad, but not in love either. I would have loved it on Travis’ Birds in the Trap Sing McKnight. Skip.

5. “Ridin Strikes”

Every Future album is a reminder that he’s richer than you. “Ridin Strikes” sounds like you should play it in a tank. He’s getting some bars off. My only issue with Future is, the subject matter starts to get stale. He overstuffs his album to the point where I crave a change. Can he hear my thoughts? The beat just switched. A news clip. Oh, this is something. I would watch Future in a bank robber movie. Give him a role like T.I in Takers. Alright, I’ll keep this one.

6. “One of My”

A simple build-up. He’s taking his time with this one. Yep! His vocal texture is the perfect tone for a ghost story. “One of my niggas ain’t got no soul.” YEP! We have the one. Future hangs out with some terrible guys. I wish we had a way of seeing a person’s karma. If Future lives his raps, I know his karma is in dangerous reds. I wish this were the intro. Imagine a Future styled GKMC; that was probably Monster. “One of my niggas ain’t got no soul” is the spookiest lyric of 2020.

7. “Posted With My Demons”

This beat sounds like a bottomless pit of despair. This is not what Tory Lanez meant by Demon Time. Future jumps on haunted beats and tells you about the monsters underneath your bed. High Off Life has been mostly about his past trails and his present riches. “All this dope I sold.” There’s a lot of darkness in this man’s heart. He looks like such a wholesome man. “If the streets don’t kill you first, it will make you strong.” Future makes trap music; real trap music; music that represents the inescapable cycle of darkness that will corrupt saints and cause angels to fall from heaven. Keeper.

8. “Hard To Choose One”

If you like trap Future, this album is for you. Future’s delivery sounds slower than usual. I wonder if that’s because Lil Baby raps so fast. The two have similar perspectives, except Lil Baby has a good heart. He’s practically the Little Mermaid compared to Future’s Ursula. Don’t mind me; I have animation on the brain. Love his flow here. “Load up my rifle; I don’t go to bed.” Future is haunted by something, and no one can convince me otherwise. The last three songs have all been killer.

 9. “Trillionaire” feat. YoungBoy Never Broke Again

Jeff Bezos is going to make this song his ringtone. Youngboy is taking advantage of all the attention he’s garnished over the last year or so. Future aligns himself with young rappers who compliment him. Future is singing his heart out. I kind of missed him singing. Youngboy is singing, too. This is a started from the bottom rap ballad. “Trillionaire” might be the breakout record. YouTube views are going to be crazy.

10. “Harlem Shake” feat. Young Thug

I have a good feeling about this one. “Choppa make them do the Harlem Shake.” Future loves to rap over beats that sound like they would play in a strip club with a low health score. Just filthy. Thugger! I wish the tempo were a few BPM faster. Thug was cool. He didn’t explode as I expected him. That was mild. A cherry bomb, not an atomic one. Eh, not in love. Feels lazy. Skip.

11. “Up The River”

Maybe it’s because I’ve been in the house, but High Off Life sounds like an outside album, not a quarantine album. Future didn’t make this album for a world socially distancing. Okay! We got some heartfelt reflection. The super-villain dropped the act. Nevermind. “Got no room for mistakes.” Can someone please put Future in the studio with Mir Fontane. Those two would make something crazy.  I hope the second half leans into this direction.

12. “Pray For A Key”

Out of all the things Future could pray for, he prays for a “key.” Super-villain. There’s some premium trauma on this album, word to my boy Michael Penn II. “I been dying to go berserk.” Not a bad record. I like the production. The synth in the background is a nice touch. “Used to pray for a key.” This is… Cool.

13.  “Too Comfortable”

“Bitch, don’t get too comfortable.” Sheesh, that’s how you feel, man? I wish we could get a For The Love of Future reality show. That would be premium television. We got something here. I like the production; I also like the tone, flow, and energy. Future is such a subtle talker. No matter what he says, it never sounds as malicious as the words are. Who made this beat? It’s gorgeous. [Editor’s Note: Southside.] Oh, he just mentioned his son. He’s opening up. Dang, that was short-lived. What is Future’s real-life like? He’s a mystery. It’s part of the allure. “Better not get too comfortable.” I’ll keep this one—the most personal song on the album. Well, besides the one about his friends with no souls.

14. “All Bad” feat. Lil Uzi Vert

I love how shameless Future is. He doesn’t care if you judge him; his life is his life. Uzi brought a change in sound. All his beats sound like they belong in video games. Gotta love the colorfulness. “I’m from a whole different world.” I believe it, sir. “My nickname is Yung Spendit.” That’s a solid nickname haha. This one is a trampoline. I love that Uzi is back to releasing music. He’s a walking cartoon. “I am way smarter than you.” Baby Pluto and Pluto Sr. are a good combo. “If I hang up, don’t call back at all.” Future is a rap star who doesn’t dim his light for no one. I wonder when was the last time he apologized to someone. Probably never. You don’t become a superstar apologizing.

15. “Outer Space Bih”

The keys are gorgeous. Future has a solid beat selection. They’re distinctive, but only a handful stand out. This one does. “I’m a driving drug store.” I see “Outer Space Bih” being a favorite. “I got two G Wagons in my ears.” Future stunts are becoming more impressive. I see why he and Drake get along. They like to make us all feel poor. Keeper.

16. “Accepting My Flaws”

This title sounds like an outro. Who is that? Dang, someone is ranting. I wonder how Future would acknowledge his flaws? 808 Mafia tag. Yes! Man, this sounds like driving a hellcat in hell. Feels like a Future classic. HE’S GETTING TO IT. “Drink my blood, baby, we going digital.” I hope we never find out what Future does in his private life. I know it’s nothing good. Two minutes in and I’m ready to run it back. He’s on a roller-coaster. “Fuck them all, we don’t show them sympathy.” So far, not one mention of his flaws. I love it. “Lord forgive me I been on a rampage.” He has been fighting his demons; he’s been fighting the cup. Oh man, this is good. Easily the best record on the album.

17. “Life Is Good” feat. Drake

I like this record. It’s Dr. Jekyll and Mr. Hyde in rap form. “Baby got an ego twice the size of the crib.” Can’t imagine a woman with an ego bigger than Drake’s mansion. I can’t believe these two dropped this song in January, and life immediately got bad. How Future catches the beat switch is something serious. Lyrically, he sounds so alive. “Life Is Good” is one of his best rap performances on the album. He gets into a completely different zone when Drake is featured. Rap would sound completely different without Future. “Life Is Good” is a keeper, but this album doesn’t need to continue.

18. “Last Name” feat. Lil Durk

“I take care of families.” Oh, wait, we have something. This is sweet. Melodic Future bleeding it out. “I can’t go to sleep, I’m too paranoid.” I guess that’s why he wants a Draco in London. Being that famous can’t be fun. Lil Durk sounds great. Pray that all rappers get the healing they deserve. So many great songs inspired by deep sorrow. “Laughing to the bank got me running wild.” Future and Durk tag-teaming the last verse was sweet.

19. “Tycoon”

One day, Future will realize that we don’t need 21 songs. “Took that Draco on a PJ, I ain’t playing.” Man, this album is a paranoia parade. As much as I like confessional Future, I feel like he told us everything we needed to know about his life in the streets on “Sorry.” “Tycoon” is a good song, but this deep into the album, it’s not hitting as hard as it should. Bloated albums do a disservice to the deeper cuts. Admittedly, bloated albums are terrible for 1 Listens. It’s like being held hostage in a studio. [Editor’s Note: I apologize.] Okay, that was a little dramatic. Good record, though.

20. “100 Shooters” feat. Meek Mill & Doe Boy

Tay Keith tag! Okay! These hi-hats just woke me up. A nice Nas/Belly reference. Meek! I haven’t played any Meek lately. Hearing his voice is refreshing. I could use a new Meek project. [Editor’s Note: He’s working on one.] Man, Future does not care about these ladies’ broken hearts. I’m sure he breaks up with women just to rap about it. This is a good record. I would’ve liked this song earlier in the album. Doe Boy! This is a solid performance. I would like on a gym playlist. Nothing says leg day like having 100 shooters outside.

21. “Life Is Good [Remix]” feat. Drake, DaBaby & Lil Baby

This album is longer than the wait at Red Lobster on Mother’s Day. “Help me fight my demons.” At what age should you be expected to deal with your demons alone? I didn’t mean that. We all deserve a shoulder to lean on, no matter your age. I can’t wait until Future drops a gospel redemption album. It’s going to be glorious. “Halloween gang in this bitch.” Why is Drake credited on this? My man did not come back as a guest star. The beat switch is meaner than a classroom of toddlers on silent lunch. DaBaby! Such a great rap voice. He found a good pocket. He delivered a strong guest verse. “You a throwaway, baby, it’s okay.” Man, rappers can be so savage. Lil Baby! The pure-hearted gangster. His flow is something else—a rapping roadrunner. I hope Lil Baby will always rap like the cops are about to raid the studio, and he has to finish the verse before they kick the door in.

Final (First Listen) Thoughts on Future’s High Off Life

Future’s High Off Life is a journey through a terrain of toxic lust, sleepless paranoia, wealthy boasts, and deep-seated trauma. Mostly, it’s another chapter from the book of Nayvadius. We have a familiar gospel on our hands.

High Off Life features Future giving the people what they expect. We have a hopeless romantic who relishes the ghosts of his past and refuses to look away from the prosperity of his present. The 36-year-old rap innovator delivers another long-winded recollection of guns, glory, girls, drugs, and demons with suave flows and hypnotic cadences over hard-hitting production from the usual suspects.

To his credit, Future understands that he is a roller-coaster. The kind of artist who follows a designated path of loops, twists, and turns without losing the rush that makes each ride thrilling. High Off Life adds 21 new attractions to his dark, twisted theme park. It’s just that, we’ve all been here before.

Listen to Future on Audiomack.

“In the age of streaming and playlists, ‘Pray For Paris’ further solidifies Westside Gunn as an album artist.”

Griselda’s ascension to hip-hop royalty over the past four years has been astounding. By embracing a reliable formula mixing grit and grace, the trio of Buffalo rappers made up of Westside Gunn, Conway The Machine, and Benny The Butcher has flipped grassroots fandom into major-label success. While each member has made gains in his own right, Westside Gunn remains the group’s nominal figurehead, the sun around which every brick and pair of Off-White sneakers orbits.

Gunn’s ever-growing discography is giving prolific stalwart Curren$y a run for his money. He fits comfortably into the roles of the rapper, the executive producer, the curator, and the art/wrestling fan, sometimes on the same album.

In Gunn’s world, wrestling acts like The Steiner Brothers and Randy Savage describe tag-team street efforts and memories of uzi shells and street corners long past. Gunn’s imagination knows no bounds. Pray For Paris, his latest self-released project, out today, is shaping up to be his most ambitious work yet. Will Gunn reach his next level of opulence? Let’s find out.

In usual 1-Listen fashion, the rules are the same: no rewinds, pauses, or skips. A straight shot through followed by my gut reactions. DOOT DOOT DOOT DOOT DOOT DOOT DOOOOOOO.

1. “400 Million Plus Tax”

We begin with a sample from an auction. A piece of art just sold for $400 million. I respect how highly Gunn thinks of himself.

2. “No Vacancy” [prod. DJ Muggs]

Some pretty keys. Gunn saying “I’ll blow your brains out in broad daylight” over fancy foyer music is a wild moment to experience. “No Vacancy” is the most beautiful DJ Muggs beat I’ve ever heard in my life. “My shooters shot five niggas in a row / BINGO.” Westside Gunn has entered the chat. These are the raps I’d expect of a man who faced coronavirus and lived to tell the tale. Hell of an intro.

3. “George Bondo” feat. Benny The Butcher & Conway The Machine [prod. Daringer]

We’ve gone from beautiful to grimy. Word to Daringer, man. I heard a Benny grunt. “Just shot a nigga on an anklet.” House arrest don’t stop shit in a Gunn song. These piano keys are dripping with cavity juice. God, this shit nasty. And there goes Conway! “George Bondo” sounds like it would’ve fit perfectly on WWCD, and I mean that as a compliment. “Get nigga clipped while I’m with celebrities hanging.” Conway deserves a Netflix documentary. Benny came in swinging. “When you ain’t leave the house unless your gat match your sneakers.” Black Air Force 1 activity. “George Bondo” is a heater. Smoking gun left at the scene. Strong start.

4. “327” feat. Billie Esco, Joey Bada$$, & Tyler, The Creator [prod. Camoflague Monk]

Fuzzy and elegant, this beat is my kinda vibe. Gunn is skating across this joint. A steady groove so far. Joey Bada$$, I haven’t heard that name in a while. “Niggas don’t want smoke, they want marijuana.” He’s back in his 1999 bag right now. Perfect rainy day music. Joey’s verse was better than his entire last album. OH, IT’S TYLER! There’s something incredible about hearing Tyler say, “Glitter on my neck match the glitter on my fingernails” on an album like this. “This car came with a driver / I’m in the back playin’ ‘Frontin’.” Gunn got loosie Tyler rapping rapping on this one. “327” is my favorite song so far.

5. “French Toast” feat. Joyce Wrice & Wale [prod. Camouflage Monk]

This is the second time Gunn has started a song with “Bonjour.” Where’s the “doot doot doot dooo?” Is “French Toast” Gunn’s attempt at a love song? “V on your chest, that’s for Valentino.” Paris is giving us a different side of Gunn. I wonder what happened on the catwalk? Wale found an excellent pocket in this beat. Camouflage Monk has styled on these last two beats, by the way. “My SBs is old, your SBs is wack.” Always here for sneaker shit talk. “French Toast” is an interesting atmosphere for a Gunn song. Some of these beats are cleaner than we’ve come to expect from Griselda. I appreciate the risk-taking. I’ll be back. But it wouldn’t be a Westside Gunn album without some wrestling interludes…

6. “Euro Step” [prod. Conductor Williams]

I love this beat. Gunn is switching flows more than he switches trenchcoats. “Euro Step” is right; this makes me wanna skip down the street. I wish this were longer.

7. “Allah Sent Me” feat. Benny The Butcher & Conway The Machine [prod. Daringer]

We’re back in the mud with Daringer, Machine, and The Butcher. “I need 100 right now.” I’d also love $100 right now. Where’s my stimulus check at? Conway and Gunn are on their Hall & Nash call-and-response shit. Oh, shit, Benny’s tapping in, too. Nice wind chimes to counteract these damp drums. “Feds ain’t find the work but found a bag full of soft rappers.” They didn’t come to play. These three were born to rap together. They sound like they could rap forever. “Allah sent me here to be a king” is right. The sequencing on Pray For Paris is crazy. Sliding between the gritty and the graceful has never felt as punchy as it does right now. I don’t know what to expect next, and I’m not mad. Bro, you’d better give that man his fuckin belt with all the diamonds. Okay, this clip could’ve been cut by like 20 seconds.

8. “$500 Ounces” feat. Freddie Gibbs & Roc Marciano [prod. Alchemist]

Alchemist with a bopper. Freddie Gibbs starting things off strong. He’s spinning a story here. “Got skeletons in my closet next to my Balenciagas.” A deadly pocket. Gunn is ceding the beginning of the song to his guests like he did on Supreme Blientele. Here comes Roc Marciano! He’s sliding. “Living comfortably off of gut instinct.” Gunn came right in to cap this song off nicely. I like “$500 Ounces,” but the beat is stealing the show for me.

9. “Versace” [prod. Jay Versace]

A Jay Versace beat, huh? He picked a beautiful vocal loop. Okay, here are the “doot doot dooo”’s I’ve been waiting for. I guess he saved them all for this song, holy shit. Gunn sounds great without drums. One of the most delightful surprises on the album so far. They need a whole project together.

10. “Caliborne Kick” feat. Boldy James [prod. Alchemist]

More Alchemist work incoming. Gunn’s voice is chopped and screwed, another big surprise. It matches the ghostly aura of the beat nicely. A wild Boldy James appears through the fog. Boldy James is a natural fit for Griselda. I’m glad they signed him. Boldy’s language is beautiful. “Russian cut my bezel / Caesar salad with the Russian dressing.” I love “Caliborne Kick.” Another highlight.

11. “Shawn vs. Flair” [prod. DJ Premier]

Coming in with a Prodigy sample. Bless the dead. A breakbeat and some synths? Interesting. Oh, of course, this is a DJ Premier song. It sounds crisp and clean with just a touch of grit. I can’t exactly call “Shawn vs. Flair” a favorite; it feels like this song is missing a verse. The beat is cool, though.

12. “Party Wit Pop Smoke” feat. Keisha Plum [prod. Tyler, The Creator]

Bless Pop Smoke and his family. Man. The beat is a reminder that Tyler knows his way around a MEAN sample flip. Why does Gunn say “mannequin” like that? I laugh every time. Keisha Plum outros are so soothing and vicious. “I kissed his cheek while I drove the ice pick in his eye.” Step on my neck. Unlike “Shawn vs. Flair,” “Party Wit Pop Smoke” sounds finished, but I want more. I was hoping we’d hear from Pootie. Talk your shit, queen! “And y’all still broke!”

13. “LE Djoliba” feat. Cartier Williams

Gunn’s trip to Paris has been an eclectic one. This Stevie Wonder sample is giving me life. “The way my neck look, they think I sold my soul.” Is this tap-dancing from the Paris Fashion Week show clip that was meme’d to hell and back? I’m laughing, and I shouldn’t be right now. “LE Djoliba” wasn’t necessary. I wish Pray For Paris ended with “Party with Pop Smoke” instead. Not exactly a sour note to end on, but Gunn could have cut this one.

Final (First Listen) Thoughts on Westside Gunn’s Pray For Paris

In the age of streaming and playlists, Pray For Paris further solidifies Westside Gunn as an album artist. He knows how to craft experiences from start to finish, what beats sound best next to each other, which features will yield the wildest results. Paris features some of his biggest gets yet: Tyler, The Creator has both a feature (“327”) and a production credit (“Party wit Pop Smoke”) while Wale makes his Griselda Records debut on “French Toast.” Names like theirs give Paris a lofty air even by Griselda standards.

Paris is also the most experimental Gunn project to date. Many of the beats—particularly “No Vacancy” and “French Toast”—are clean and expansive breaks in between the usual muddiness. Gunn tries on new flows (“Euro Step”) and even takes a stab at a love song. His ear has always been eclectic, but there’s newfound adventurousness to Paris you won’t find on the Hitler Wears Hermes tapes.

Unfortunately, some of the album’s surest bets don’t pan out. Gunn, Freddie Gibbs, and Roc Marciano’s solid but unremarkable work on “$500 Ounces” is overshadowed by Alchemist’s mesmerizing beat. “Shawn vs. Flair,” a jumpy DJ Premier production, feels unfinished, and “LE Djoliba” undermines the strong ending of “Pary Wit Pop Smoke,” giving the album a tacked-on post-credits ending sequence. 

These rare lapses in Gunn’s sharp sequential judgment keep Pray For Paris from ascending to Supreme Blientele levels, but they aren’t dealbreakers. Westside Gunn’s world is still one of excitement and redemption. Pray For Paris is another reason to always bet on the FlyGod.

Stream Pray For Paris, the new album from Westside Gunn, on Audiomack

Drake delivers a fan service release during quarantine, allowing him to clear out his vault of throwaways, loosies, and leaks.

The world stood still on February 13, 2015, when Drake released his surprise mixtape If You’re Reading This It’s Too Late. I remember the hair on my neck standing straight up during the intro track. It was a big moment for Drake. He believed he reached the status of legend, and the release of IYRTITL showed us that he wasn’t afraid to say it.

Five years and a few months later, rap’s global superstar returns with another surprise mixtape, Dark Lane Demo Tapes, featuring 14 tracks and guest appearances by Playboi Carti, Young Thug, Future, Chris Brown, and more. I have no further thoughts; let’s see what Drake has to say. 

In usual 1-Listen album review fashion, the rules are the same: no skipping, no fast-forwarding, no rewinding, and no stopping. Each song will receive my gut reaction from start to finish. 

1. “Deep Pockets”

It’s always nice to hear a background sample on a Drake intro. I just looked at the album cover and laughed. Why does Drake look like a cat burglar? Whose house is he breaking into during quarantine? “Deep Pockets” sounds like a throwback. This song is like watching a veteran ballplayer shoot from his old sweet spots on the court. I’m not in love with the production, though. “Deep Pockets” is dragging. “My soundtrack is the second Carter.” Drake is getting bars off. I’m listening to a graceful layup, but I’m here for the 360 windmill dunks. I’ll revisit it. 

2. “When To Say When”

The “Song Cry” sample sounds heavenly. This is a good canvas for this variety of Drake. I respect how much he big ups Birdman and Wayne. There’s a sense of sincerity to his stream of consciousness. He’s saying what’s on his mind. This is my favorite kind of Drake. Just a free-flowing diary of thoughts. “When To Say When” is the most elegant rant Drake has ever rapped.  

3. “Chicago Freestyle” feat. Giveon

Giveon’s voice. That’s it, that’s the tweet. Drake’s conversational flow is working well because he raps with a photographer’s attention to detail. What I like about “Chicago Freestyle” is how the beat, Drake’s flow, and Giveon’s feature complement one another perfectly. There’s a synergy that makes for a graceful banger.

4. “Not You Too” feat. Chris Brown

A slow cut. I like the production. There’s a looseness here that’s atmospheric. Drake’s singing is conversational. Not in love with this one, though. I’m too sober for “Not You Too.” The pace of Dark Lane Demo Tapes is pretty slow. Drake is in no rush. I love the sudden drum rolls and synthy textures. Drake is sweet singing to some woman, but I’d rather have another elegant scolding. I don’t know if Chris Brown did anything. If he appeared, I might’ve missed him. [Editor’s Note: He sang background vocals.]

5. “Toosie Slide”

“Toosie Side” is no “Swag Surf” was my initial take when Drake released this song, but I’m not upset at another dance song. Okay, I might change my mind. I can’t imagine any reason I would play this song. I do love how he snuck the subtle imagery of plotting violence. “Gotta dance, but it’s really on some street shit.” Mafia music for the suburbs of Pasadena. Is this the extended version? “Next time I swear the truth will get revealed.” Drake is still alluding to things. I can’t imagine Drake getting in another rap beef. No one wants that, and I don’t want this extended “Toosie Slide.” 

6. “Desires” feat. Future

All these songs sound good, but I hear why they’re loosies. They sound like good ideas that weren’t great. Future! It’s nice to hear another voice. His flow on here is a treat. It’s the way he launches into a sudden tangent without ever losing the cool. Future and Drake really get together and scold women. “Desires” is fine. It’s a vibe. I wouldn’t skip it, but I don’t love it. After a decade of Drake singing, I’m okay if he only raps for here on out. 

7. “Time Flies”

I love this beat. Easily my favorite track thus far. The hi-hats are tapping with such eloquence. A great mid-tempo rhythm. The singing rap style here is great. It’s so steady, like a leaf floating on the top of a river. Drake is in a good pocket. Something that he does well is bringing his life to the song and still making it feel like something you might experience. He attempts reliability. As soon as I complain about his singing, he pulls out “Time Flies.”

8. “Landed”

The bounce! It’s a trampoline. This is good. Drake’s stunting is whimsical. He has the braggadocio of a winner. Drake is running through women like Charlie in the fifth season of Californication with the way he’s rapping. That’s a reference for Donna. “Landed” sounds like a More Life leftover. “Pushing five Cadillacs like a politician.” “Landed” is the sleeper hit. Keeper. 

9. “D4L Freestyle” feat. Future & Young Thug

I’m liking this build-up. Thugger! The beat is vibrant and springy. Future and Thug together are two stylish supervillains. “D4L Freestyle” is the best song title on the album. Young Thug vocals are hilarious. Drake is ripping this. He sounds like he’s having a great time. The Spaceship/Bankhead line. Some of his best rapping on the album. Here’s Future. Future is making the money counter sound with his mouth. Has he been practicing that? It’s such a perfect money counter. Not in love with the beat, but Drake went to outer space.

10. “Pain 1993” feat. Playboi Carti

Drake’s throwaways are good. Dark Lane Demo Tapes is the opposite of If You’re Reading This It’s Too Late. Instead of feeding us aggressiveness, Drake’s energy is Sunday morning relaxed. His voice is impeccable here. The most casual rapping. Pi’erre Bourne’s price going up, again. Carti’s ad-libs are killing me. Southside Carti came to dunk on Drake. His voice is stealing the show. How does he get his voice that texture? He sounds like a cartoon character. Reboot the Rugrats with Playboi Carti as Tommy Pickles. Keeper. 

11. “Losses”

It sounds like an older gentleman talking to his Instagram. [Editor’s Note: That older gentleman is Drake’s father, Dennis Graham.] I like this not-an-album. It’s perfectly okay. Dark Lane Demo Tapes is a playlist of slow-burning Drake vibes. I’m post fascinated with the pacing. “Losses” is dragging. Rap has felt so fast in 2020. There’s a clarity to Drake that I like. He makes sure you see his point of view. Ironclad rapping. He doesn’t miss a detail. It’s the lyricism of a politician. The day he decides to run for office will be a wild day on Twitter. Another elegant scolding. Keeper. 

12. “From Florida With Love”

I love the bounce. Love the Static Major nod. This is the one. There’s a few hit records on this album if Drake wants them to be hit records. “From Florida With Love” feels like a banger. He loves executing subtle threats on potential bangers. “You know that lesson stuck.” I didn’t need the second verse. I might be tired. This one would sound great in a room full of people. 

13. “Demons” feat. Fivio Foreign & Sosa Geek

This summer, I need Drake to give me a 30-minute LP. I’m getting too old for 50-minute sermons. I miss Pop Smoke. Been thinking about him a lot lately. Sighs. Drake can do any style of rap, but Drill Drake is hit or miss to me. He’s sliding on “Demons.” This is some of the most aggressive rapping on the album. Fivio has good energy. Drake always finds a young star to spotlight. “Demons” could’ve been a strong single. Sosa Geek is fine. He got character. “Demons” is the banger that feels a little late to the party. 

14. “War”

“War” is a Drake song I feel indifferent about. It sounds awkward, but I love how the words bend to his flow. It’s a slick song. The lyricism is an example of Drake’s best kind of stream of consciousness. He doesn’t miss a beat. Even the way he described The Weeknd is like a mob boss speaking in code. “Everyone I know has code names.” Drake sounds silly at times, but he puts up enough shots to always strike gold in various styles. A true shooter.

Final (First Listen) Thoughts on Drake’s Dark Lane Demo Tapes 

The title Dark Lane Demo Tapes is spot on. Drake has delivered a fan service release during quarantine, allowing him to clear out his vault of throwaways, loosies, and leaks. 

There is no attempt at a crossover pop song or shiny, big-budget radio record. Dark Lane Demo Tapes is a playlist project filled mostly with surface-level rap tales by a rich and famous superstar who can craft a hit—any type of hit; you name the type—in his sleep. And some of these songs (“Desires,” “Not You Too”) sound like he did. 

As a variety pack of mostly effortless rapping and R&B throwaways with only a few potential Billboard chart-toppers, Dark Lane Demo Tapes presents as 50 minutes of graceful layups from a living legend. Drake didn’t feel the need to surprise us with a dunk. Sure, a 360 windmill would have been nice. But for that, we’ll have to wait for album number six.

Some new dembow music straight from the DR. If you don’t know about this get to know it.

Me gusta este dembow señores, palante.

Another J.Period mixtape experience featuring Outkast, enjoy.

J.PERIOD Presents The Live Mixtape: ATLiens Edition [OutKast Tribute] Recorded LIVE on April 20, 2020. Visual art by Dan Lish. Visuals edited by Emmai Alaquiva.

JPeriod always findings ways to bringing mixtape experiences with good music. Love it.

J.Period new mixtape experience with Nas & Mob Deep Tribute, crazzzy.

Virginia’s Boogs is back! More real talk and story telling. Check out the quick visual for “Southern Belle” and link with Timelesz here

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An exclusive outtake from J.PERIOD’s #WakandaForeverEver Remix Project featuring Nas with award-winning actor Sterling K. Brown reprising his role as “N’Jobu” from the award-winning Black Panther!

In honor of Dilla’s 45th birthday, we are posting J.PERIOD’s unreleased 2017 Dilla Live Mixtape with Black Thought for 24 hours. Enjoy!

Listen to the second installment of “Infstrumentalz” by HCM Is the Gang’s own INF!(bka as I’ll Never Fail!), representing ROC,NY/Boston & NYC, a compilation of classics both new and old. INF! Delivers plenty bars over original production from the likes of INF! Himself, JD Riggz, KXL, Jimmy Dukes, Harles Mac & VADR plus guest apperances from HCM Is The Gang, Big Ooh, The 3rd, Cory Gunz & more.

Limited Edition CD’s are Available at ThisisHCM.com

@infstagram @djtonytouch @djgotnow @hcmisthegang

Right before the New Year Bilingual Rap artist Kimmy Cash & Soulful Songstress La Duena threw Down a Show that Resonates Today!! For their Incredible Energy and Catchy Music Mixtapekings.coM picks these two for New Artist to Come! Stay tuned because we hear they Both got Mixtapes in the Works!!

Video by @wilbeats

Performances by

ig: @iamkimmycash & @laduena212_official

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Off the surprise album Everything Is Love