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Dogs & Disses: Commentary on Drake’s For All The Dogs

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On October 7, we received Drake’s 8th studio album, For All The Dogs, and to say the album was highly-anticipated would be an understatement. After months of promo featuring hand drawn pictures by Drake’s son, Adonis, viral moments from the It’s All A Blur tour with 21 Savage, and an unexpected album delay, Drake listeners were on the edge of their seats for the rapper’s newest record, and like any other project from the major artist, the album has been the topic of conversation on social media. However, these conversation points have been polarizing to say the least. 

On one side of the coin, listeners are loving the project and are already choosing their favorite lines for their future Instagram captions. On the other side of the coin, listeners are bored of the rapper’s content and see this as the downfall of the high-streaming artist. A topic that often comes up regarding seasoned and highly-acclaimed artists is the question of “are they still trying?” and Drake is no exception to this dreaded question. Many are saying that as Drake’s reign as the record-breaking rapper continues and he ages with the rap game, his music has become less interesting and is regressing in content, lyrics, and effort. And after seeing the artist’s progress over the past few years and witnessing the aftermath of the album’s release, I hate to say that the criticisms may be true.  

A standout factor of For All The Dogs is Drake’s choice of featured artists. Of course, he has his known collaborators like 21 Savage and PARTYNEXTDOOR and even reunites with J Cole on the hard-hitting track “First Person Shooter,” but he also has a class of newer collaborators like Yeat, Teezo Touchdown, Bad Bunny, and others. Now, I always applaud artists who can collaborate with others outside of their typical style and who can not only showcase their personal talent, but who can also bring out the best in their chosen collaborators. We have seen this on tracks like “Love Galore” with SZA and Travis Scott, “Family Ties” with Kendrick Lamar and Baby Keem, or even “Slide” with Calvin Harris, Frank Ocean, Quavo, and Offset. However, on For All The Dogs, these collaborations felt awkward in areas and almost like clickbait for listeners. 

For example, on “All The Parties” featuring Chicago rapper Chief Keef, the drill music superstar had a 15-second verse that was easily overshadowed by the remaining 3 minutes of the track. On the other hand, the track “IDGAF” featuring Yeat feels like a Yeat “throw-away” that Drake sandwiched himself into for 30 seconds. The song “Rich Baby Daddy” featuring Sexyy Red and SZA seems like a song created specifically for the Sexyy Red feature but doesn’t deliver as well as intended, is a bit too long, and quite frankly, is kind of annoying. I don’t blame Drake for utilizing the starpower of industry newcomers. Drake is known for staying with the trends and trying new approaches to music. The issue arises when the addition of features to the tracks do nothing for the track or even when Drake tries to merge into the newcomer’s style and misses the mark, sounding like a feature on his own project. The features on For All The Dogs feel well-intentioned but clumsy and underutilized. 

When it comes to the theme of For All The Dogs, Drake has made it very clear that this album is truly for all the dogs. For years, Drake has been known as the singing and rapping artist that the ladies love and the men secretly want to be. However, For All The Dogs feels like an absolute rejection of that persona as the songs on this album come across as misogynistic and hyper-focused on the “bros.” Misogyny and toxic masculinity are not new in hip hop, but they are new for Drake, and it feels inauthentic. From his alleged Rihanna diss on “Fear of Heights” to his constant reference to women as b*tches and cats on nearly every song, it appears that as Drake becomes larger in stardom and more removed from a moderate lifestyle, he feels more inclined to exploring this aspect of a personality he’s never unlocked until fairly recently. 

All in all, I think it’s safe to say that For All The Dogs is not a strong release from the Toronto rapper. Hip hop media personality and Slaughterhouse rapper Joe Budden candidly reviewed the album saying that Drake’s music isn’t maturing, and despite Drake’s poor reaction to the review, Joe Budden made a fair point. However, I think it is less about the music not maturing and more about the rapper feeling unmotivated and uninspired. For All The Dogs had glimpses of the Drake that we know and love on songs like “8am in Charlotte” and “Away From Home,” but what do those tracks have in common? They are the introspective Drake staples that purely showcase his rap prowess and remind us why he is one of the world’s highest streaming artists. On his radio show just hours after the album’s release, Drake shared that he’s had stomach issues for years and is stepping away from the music industry to focus on his health, and this might be best for the artist. A break to focus on his health, both physical and mental, might be what Drake needs to feel hungry again. He’s been churning out albums for the past decade on a pretty consistent basis. A hiatus seems like the perfect thing to give him time to feel inspired again and hopefully, come back better.  

REVIEW: Mr. Morale & The Big Steppers

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On May 13, Kendrick Lamar released his sixth and reportedly his final studio two-sided album Mr. Morale & The Big Steppers. The album has stirred up a variety of opinions and reactions as Lamar covers a wide range of topics from COVID to toxic relationships to fame to homophobia and more. It feels good to hear from the DAMN rapper again, but is this the “all hits, no misses” project we were expecting from him? I don’t think so.

Mr. Morale & The Big Steppers allows listeners to be a fly on the wall as we enter countless sessions between Kendrick Lamar and his therapist. The opening track “United In Grief” is quite the opener and serves as a reflection from Lamar over a rapid-fire and seemingly chaotic beat but does an excellent job of setting the tone for Side A of the new project. “United In Grief” tells the story of Kendrick’s rise to fame as a 20-something with the world now in his hands. He details all the things he did from buying cars, mansions, and chains to sexing the pain away on his first tour, constantly saying “I grieve different.” This track is the perfect transition into songs like “N95,” a play in anti-masking all about removing the mask that we wear to paint a falsely perfect picture to the surprise Kodak Black interlude “Rich,” where the rapper discusses acquiring fame and riches while also watching the men in his life place immense value on material possessions that he now realizes don’t matter. 

Standout tracks on Side A include the groove-worthy “Die Hard” featuring Blxst and Amanda Reifer, the West Coast influenced “Rich Spirit,” and the rage-filled “We Cry Together” featuring Hit The Floor and Zola actress Taylour Paige. “United In Grief” begins with the statement “tell them the truth,” and it seems like that’s what Lamar aimed to do with the first half of the project. Mr. Morale has a running theme of exposing the truths behind toxic masculinity, the hardships in fame, and the unhealthy ways in which we all grapple with pain. In “N95,” Lamar poses the question of “what the f*** is cancel culture?,” and this leads the listeners into the primary theme of Side B all about evolving from ignorance and pushing past the fear of true authenticity in the public eye.

Side B begins with K Dot’s counselor recording “session 10: breakthrough.” Side B opener “Count Me Out,” is Lamar’s breakthrough of realizing that he is able to grow and evolve from the mistakes of his past. We start to see this theme of being “canceled” by the public and how the rapper hopes to move past the fear of being canceled to speak his authentic truth tying back into the Side A themes. On the album’s cover, Kendrick Lamar wears the deeply religious Crown of Thorns, depicting him as a Christ-like figure. The track “Crown” shines some light onto why he may have chosen this strong imagery as he repeats “heavy is the head that chose to wear the crown” and “I can’t please everybody.” Lamar ruminates on this idea of people looking to him and his contemporaries as sort of modern-day prophets on “Savior” and the immense pressure that comes with it to remain in good standing with the public. This ultimately explains Lamar’s departure from the public eye as he ends “Savior” with “protecting my soul in the valley of silence.” Kendrick Lamar’s commentary on idolizing celebrities and elevating them beyond human status is poignant to hear as it seems like some fans have needed to hear these words for quite some time now. Lamar wants to be seen as human; he wants to be seen as someone who comes from mistakes and makes mistakes despite his celebrity status and has the ability to grow without the fear of being “canceled” or, in staying with the religious themes, crucified.

Side B has a few tracks that unfortunately miss the mark. “Silent Hill” featuring Kodak Black is kind of awkward for both Lamar and Kodak Black. It seems like neither one is comfortable on the track and would have been presented with the right amount of charisma from a Vince Staples or Baby Keem. I also have an issue with the number of times Kodak Black appears on this project given the legal issues surrounding his pleading guilty to the sexual assault of a minor. It seems odd for him to be a collaborator on a project that focuses so heavily on the issues in Black masculinity and the relationships between Black men and women. If anything, Kodak Black needs to be the one listening to the message versus preaching to others. This is a prime example of how the music industry fails to hold men accountable for their crimes against women. The irony of using Kodak Black to speak the truth on a topic while simultaneously not facing his own truths is exhausting.

Another issue on Side B comes in the track “Auntie Diaries.” The song is jarring with the repeated use of slurs, misgendering, and deadnaming. Lamar wanted to make a statement about homophobia in the Black community by telling the story of his own family members and his personal homophobia as a child. It’s admirable in theory but comes across as extremely tone-deaf in practice. With that being said, could Lamar have done this intentionally in staying with the theme of cancel culture on Side B and knowing the reaction the public would have? Possibly. Does this artistic vision take away from the issue? No. It, in fact, highlights the immense failure to acknowledge the privilege that Lamar has to use these hurtful words and walk away unscathed. The bottom line is that I am almost positive that Lamar could have found a way to make this statement without offending so many, assuming the track was created with good intentions.

Overall, Mr. Morale & The Big Steppers is not at all what I was expecting to hear from Kendrick Lamar, but after a 5 year-long hiatus, it is expected that he has a lot to say. However, I do think his isolation from the public has led him to become a bit out of touch in some areas and sometimes comes across as distastefully Christ-like. I will admit that the project seems to get better with each listen, and I will definitely revisit a few songs on this project. It’s easy to see that Lamar has a few songs made digestible for radio play while also delivering a heavy project that requires you to really sit and listen. As a whole, Mr. Morale & The Big Steppers will serve as the end of an era for one of the best rappers of today.

Listen to Mr. Morale & The Big Steppers and leave your thoughts below!

What Happened To Coachella 2022?

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Sandy winds, desert heat, and Ferris wheel flicks. Ah yes, Coachella season has come and gone, but there was something a bit different about Coachella 2022: hardly anyone mentioned it. Prior to COVID-19, Coachella was the music festival to end all music festivals. I have vivid memories of sitting in my teenage Houston bedroom watching the Coachella live streams via YouTube, wishing that I could be there to drink overpriced lemonade and take IG photos with Coachella Queen Vannessa Hudgens. However, this year, the festival simply just wasn’t “giving,” and I’m not the only one who feels this way.  Let me break down why that might be the case. 

Coachella was the pinnacle of spring and summer festival wear, but the rapid rise of fast fashion has stunted the taste of many Coachella attendees. Fast fashion has always been around with stores like Forever 21, Wet Seal, and Rue 21 filling the closets of teens everywhere. However, the rise of fast-fashion giant, SHEIN, has completely changed the way that consumers shop. Fast fashion focuses on what’s trending. Right now, that’s Y2K fashion and “BBL fashion” with the large cutout clothing trend. The issue is that Coachella is all about setting trends, not following them. Everyone was dressed the same this year, and those who stood out in the crowd captured social media’s attention because of the care and thought that went into their ensembles. It just seems like the attendees this year didn’t really understand the assignment in terms of setting the trends for everyone else to follow for this upcoming festival season. 

Now, when I did see a mention of Coachella on my social media timelines, it was typically by an influencer who was invited to the event to promote a brand. The influencer was typically in an exclusive tent and watching shows from a screen, only venturing into the crowd for a quick photo op. Influencer culture has shifted the way we view most things, but this shift was uncomfortably noticeable during this year’s desert festival. One of the appeals about Coachella pre-COVID was the feeling of the event seeming somewhat attainable to those at home. The aura of exclusivity surrounding the number of guests invited to the festival this year kind of made the event unattractive and personally left a sour taste in my mouth. It felt fake seeing social media stars parade around the festival grounds knowing they were there to paint a picture and uphold this image of an event versus seeing them experience the event authentically. 

And of course, it wouldn’t be Coachella without the music. Honestly, the Coachella lineup was pretty great this year with major names like Doja Cat, Harry Styles, and Billie Eilish headlining the 3-day event. Unfortunately, these headliners and other performers, who are awesome performers in their own right, had to follow up the iconic Beychella Homecoming performance in 2018. Beyonce raised the bar in terms of what festivalgoers expect out of a performance. Now that we have seen what can be done on the festival stage, we are not ready to come back to the same old festival routine of artists simply performing their standard concert set. There was hardly any buzz surrounding the performances this year, with the exception of the Weekend 1 Harry Styles show with Shania Twain, and even then, that was only a brief moment out of the full set. Kind of disappointing to see. 

All in all, Coachella wasn’t it this year, but that was to those like me who were stuck at home waiting to see the highlights. Let me know how you feel about Coachella 2022 or your thoughts on my breakdown of the event in the comments below.

2022 Grammy Award Predictions

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On April 3, 2022, the 64th annual Grammy Awards Ceremony will take place. While I believe that award show categories are becoming obsolete with the number of genre-bending albums we see today, I can’t help but make my predictions. Take a look at my Grammy predictions for the 2022 Grammy Awards and comment your thoughts below!

Record of the Year

MONTERO (Call Me By Your Name) – Lil Nas X

I was obsessed with this song when it was being on social media, and it definitely lived up to the hype. The story behind “MONTERO” combined with the production by Take A Daytrip makes this record too infectious to deny. I think “MONTERO” has a unique edge when thinking of what the Recording Academy is looking for in ROTY. The somewhat heavy subject matter plus the dancey beat makes it the perfect contender for this category. 

Album of the Year

Evermore – Taylor Swift

This was a difficult one, and even I shocked myself with this prediction. First and foremost, I actually did not listen to this album, so this prediction becomes even more interesting. I honestly didn’t feel like any other album had AOTY potential, especially since the highly-anticipated Silk Sonic album wasn’t nominated. I’m saying Evermore will win because I can’t deny the traction that this album received from both fans and critics. I think the folky take from Taylor Swift will push this album to the forefront of the category. A close second or another possible winner might be Sour by Olivia Rodrigo.  

Song of the Year

Right On Time – Brandi Carlile

Considering that SOTY is a category focused primarily on a track’s quality of songwriting, I believe Brandi Carlile has the most potential here. The Recording Academy loves to sneak in a winner that no one sees coming, and I think Carlile might be that winner to make everyone’s heads turn. I would not consider myself a huge fan of her music, but I am aware of Brandi Carlile’s songwriting abilities and the many praises she receives for that talent. “Right On Time” is a song detailing pain and betrayal in a couple’s relationship that is tragic but oddly needed to make the relationship stronger. I haven’t heard a song quite like it, and I think that makes her a top pick in this category.

Best New Artist

Olivia Rodrigo

I think it would be crazy for Olivia Rodrigo to not walk away with a Grammy this year, and Best New Artist feels like the most appropriate category for her. Rodrigo’s entry into the music, following her Disney fame, is reminiscent of Billie Eilish and her notable Grammy run following her debut album. “Drivers license” was a song that captivated many with its simple yet relatable subject matter, and Sour as an album was a fantastic showcase of Rodrigo’s vocal capability and musical flexibility, blending traditional pop elements with nostalgic pop-punk elements. All in all, I believe she is very deserving of this win. 

Best Pop Vocal Album

Planet Her (Deluxe) – Doja Cat

Doja Cat shocked me with Planet Her. The cool thing about Doja Cat is her ability to blend her notable rap talent with her perfectly placed pop vocals. Planet Her has plenty of standout tracks with tons of replay value such as “Need To Know,” “Kiss Me More” which has been nominated in several other categories, and many more. I think the best quality of Planet Her is the variety of songs available on the album. No song feels unnecessary and Planet Her seamlessly bends genres to make it a standout pop album. 

Best R&B Album

Heaux Tales – Jazmine Sullivan

Everything about Heaux Tales is amazing. Jazmine Sullivan worked in silence, crafting the perfect album to tell the stories of women from all walks of life. The album has all facets of R&B on lock from an upbeat party jam (“Put It Down”) to a heartwrenching ballad (“Lost One”) to a powerhouse acoustic moment (“Girl Like Me” ft. H.E.R.) Heaux Tales has an expert combination of A+ vocals, a cohesive subject matter, and clear songwriting. I’d be very surprised if this album doesn’t win.  

Best Rap Album

Call Me If You Get Lost – Tyler the Creator

I feel like this honestly goes without saying. Tyler’s music is aging like wine: it only gets better with time. As soon as listeners heard CMIYGL, the Grammy speculations started flying left and right, and admittedly so. The album is complete with top-notch production, an amazing storyline, some of Tyler’s best rapping amongst his CMIYGL collaborators (NBA Youngboy, Lil Wayne, Brent Faiyaz, DAISY WORLD, etc.), and immense attention to detail required to make a cohesive album like this one. This category will be a tough one, but I think Sir Baudelaire has it in the bag.   

Tune in to the 64th Grammy Award Ceremony on April 3 at 8pm EST. Click here to see the complete nomination list and learn where to watch the ceremony. Also, check my Twitter to see live tweets of the event!

jeen-yuhs: A Kanye Trilogy Part 3 Recap

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The final episode of jeen-yuhs: A Kanye Trilogy was released last Wednesday to tie the Kanye West story together, and as expected, things got really tough to watch. 

As a fan, it was difficult to see Ye’s antics happen in real-time. It was even more difficult to not only watch his public downfalls again but also to see the things that the public did not have access to. At times, it felt like I shouldn’t have even been watching as West rambled about the public’s perception of him and his vision that others couldn’t seem to understand. To make matters worse, the day after the episode’s release, Kanye was in the news, yet again, for his disturbing music video for his new track “Eazy” where he is seen burying a decapitated Pete Davidson. Considering his past public blow-ups and his current problems, Part III of jeen-yuhs put a lot into perspective. 

One of the major turning points in the documentary was the death of his mother. Donda West was so involved in Kanye’s career from rapping along with him in their home to becoming his manager to starting a charity foundation in his name. Her death has clearly impacted him in ways that we won’t be able to understand especially because it appears as though he never really grieved the death of his mother. Kanye continued touring and making appearances. He never took a break and that is where we start to lose the pink polo Ye that we all once loved. 

There’s no point in running through the extensive history of Kanye in the media because we all have seen enough. There’s also no point in discussing Kanye’s mental health because we are all aware of his bipolar disorder and the many ways in which BPD presents in people. Kanye’s mother told him “the giant can never see himself in the mirror.” Kanye is the giant who can’t see himself for how he truly is. He can’t see the hurt he’s causing others. He can’t see the danger in his words and actions. He’s too far gone, and it feels like no one has any idea of how to bring back the “old Kanye” without Donda West here. You can see how others speak to him from Coodie to Rick Rubin to his own father. Everyone is walking on eggshells trying to prevent the next downward spiral.

Part III of jeen-yuhs showed a man who is hurting and grasping onto anything that makes sense to keep him going despite them being controversial, ill-informed, or downright dangerous. It seems like his latest obsessions include his messy divorce from Kim Kardashian and Pete Davidson dating his former wife. Hopefully, the creation of his Donda album is helping him to kickstart the grieving process he never started, and if not, then all we can do is hope Kanye is surrounded by people who can help bring him back to earth. 

Watch jeen-yuhs: A Kanye Trilogy on Netflix.   

jeen-yuhs: A Kanye Trilogy Part II Recap

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Part II of jeen-yuhs: A Kanye Trilogy showed the true impact of grinding to reach your dreams. Viewers got the inside scoop behind some of Yeezy’s most notable tracks and the creation of the rapper’s Grammy-winning debut album, The College Dropout. The running theme of Part II: if you want it done right, do it yourself. 

Kanye is officially a Roc-A-Fella rapper, but now what? One would expect the label to put him to work immediately, but that’s not quite what happened. The label still saw West as just a producer who got signed. Kanye has a seat at the table, but no time to speak. Roc-A-Fella is putting their energy toward other signees while Kanye waits for his time, but when he realizes Roc-A-Fella isn’t planning to work on his debut, Mr. West takes matters into his own hands. 

The advantage of being a producer and a rapper is that you don’t have to wait for anyone else to start making the music. Kanye had the connections and credibility from his production alone. Being signed to one of the best hip-hop labels was an added bonus. Kanye was able to get Jaime Foxx in the studio to hear the concept for the track “Slow Jamz,” a new approach to rap leaning on old school R&B and dedicated the ladies. In the studio session, you can see Jaime Foxx become a believer of the Ye vision as he spits the first verse over the iconic sample. He’s excited to work on the track, and that’s how he does; that’s how Kanye earns his star-studded debut. He uses his connections to get people in the room and converts them into believers of the Yeezy dream, and it worked every time.

Although Kanye is working on his album without the help of Roc-A-Fella, he’s still an artist on the label and has executives to answer to. After leaving a studio session where he was producing for a fellow labelmate, the worst happens. Kanye finds himself in a life-threatening car accident. Fortunately, he survives, but his jaw, fractured in three places, has to be wired shut. This doesn’t stop Kanye who is moving toward his goals with tunnel vision. He writes “Through The Wire,” documenting his struggles and mindset throughout this tumultuous time. “Through The Wire” was a turning point for the rapper. This is the moment when Kanye really sees just how hard he is willing to work. West is willing to deny surgery to reconstruct his jaw and to piece a music video together on short notice as long as it keeps him on track to release this album as quickly as possible. Kanye is ready for the world to see him shine on his own. He refuses to wait any longer.  

Throughout the episode, Kanye was very vocal about Roc-A-Fella stalling his budget. This meant no studio time and no marketing. West got creative, setting up recording equipment in hotel rooms, borrowing studio time from others, or going to artists’ home studios to record verses. He had to make do with what was available to him, and he did it extraordinarily well. The College Dropout was finished, and as for promo, he got creative there as well. Whether it was playing his demos for random people on the street to get their reactions, using his Chicago connections for free promotion, or appearing on Def Poetry Jam, Ye made sure that everyone knew who he was and what they could expect from his debut. 

It’s February 2005, and The College Dropout is more than a success. Kanye is whisked away on his first tour, and surprisingly, things are quiet from the boastful artist. That’s because he leaves his longtime friend and documentarian Coodie behind. Coodie has been following West since the very start and was an early believer in the Kanye West vision, and yet, Yeezy didn’t see a need for him on tour. I believe that this is where the problem begins. His leaving Coodie behind shows just how quickly Ye was willing to abandon those who came up with him for the fast life and flashing lights. This is not to say Coodie alone kept Kanye from being Kanye, but maybe keeping a few of those key people around who were there during his come-up would have reminded Ye of simpler times of shooting pool at the house or eating burgers and cheese fries in diners. In Part II, Kanye is on his way to the top of the mountain, and as the old saying goes, what goes up must come down. 

Part III of jeen-yuhs: A Kanye Trilogy will be released on Netflix on Wednesday, March 2.

jeen-yuhs: A Kanye Trilogy Part I Recap

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The new Kanye West documentary premiered last week on Netflix, and with only one episode available from the three-part series, viewers can easily understand how Yeezy became the man he is today. 

The Kanye West story was written from the start by Ye himself. It all began with a vision. West knew he had what it took to make it in the music industry, to reshape what it meant to be a visionary, to break free of every label placed upon him. He had a plan and was not willing to accept anything less than what he originally envisioned. He moved to New York after producing half of the critically-acclaimed Blueprint album and was living beat to beat as he tried to convince label executives to take a chance on the producer turned rapper. 

Picture this: a young Kanye West storming into Roc-A-Fella Records with a rough demo of “All Falls Down” only for him to be completely ignored. It’s a tough image, but that’s exactly what happened. Roc-A-Fella knew West as a producer, and that’s all. They acknowledged him as he walked into the building and seemed happy to see him in some instances until he pressed play on the stereo. Despite clever lyrics about insecurity, an undecided college major, and Lauryn Hill’s beautiful vocals, no one acknowledged the potential. Now, was Ye’s approach flawed? Sure, but it was a bold and almost admirable move that only foreshadows the Yeezy we see today. From that moment, West refused to be ignored. This experience would only explain why his moves seem to become grander and grander every day. He demands to be heard.   

He continued making beats for others and saving the best beats for himself. He continued writing lyrics, recording, and playing tracks for his friends. He used his network to collaborate with greats like Scarface, Mos Def, and Talib Kweli. He saw the vision and trusted that those in his circle saw the vision as well. However, that was not enough to keep the budding emcee’s dream alive. The most important figure in this vision was Ms. Donda West. 

In Part I of Jeen-Yuhs, the importance of Donda West to the Yeezy vision is too clear to omit. Kanye visits his mother’s home, downtrodden and in need to support after his Roc-A-Fella stunt. Ms. West’s love immediately revives Kanye as she reminds him of his talent, confidence, and drive. She’s genuinely invested in his vision as she raps his song lyrics and listens to him talk about his goals. She is his #1 fan, and it is clear that no one’s support matters more to West than his mother’s.   

Ms. West reignites his fire. Kanye returns to New York with a new sense of self and is set on making his goals happen one way or another. His drive leads him to a spot on MTV’s Direct Effect, a featured interview on Chicago’s WGCI radio station, and finally, the coveted contract with Roc-A-Fella Records, bringing the Kanye West vision full circle. 


Part II of Jeen-Yuhs: A Kanye Trilogy will be released on Netflix on Wednesday, February 23.  

DONDA VS Certified Lover Boy: The Review

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The Drake and Kanye beef was a feud I never saw coming, but it has been brewing for a long time. From wasted studio time to stolen beats to inappropriate comments about wives, and more, it’s time to let the music do the talking.

DONDA

Kanye West released his tenth studio album DONDA on August 29 after a series of listening parties and a teeth-clenching weeks-long rollout. The album was a dedication to his mother, Dr. Donda West whose death has clearly impacted Kanye in more ways than one could have imagined. Continuing with Yeezy’s Christian rap ventures, DONDA is a solid body of work with no profanity and beautiful religious lyrics and themes.

Standout tracks like “Jail” featuring Jay Z, “New Again” featuring Chris Brown,”24” featuring the Sunday Service Choir, and “No Child Left Behind” featuring Vory and the Sunday Service Choir all speak to Kanye’s history of public and private slip-ups and his faith that no matter what the public believes, God has the final word. One of my favorite qualities about a Kanye West project is the number of features Kanye utilizes to tell his story, and DONDA does not miss the mark. Kanye has enough star power and credibility to bring out the best in any artist and that was clear on DONDA. I heard some of the best verses that I have ever heard from artists like Lil Yatchy (”Ok Ok”), Baby Keem (“Praise God”), Fivio Foreign (“Off The Grid”), and many more. DONDA also introduced hip hop fans to new artists Vory and Shensea whose features decorated the album with melodic vocals and unique flows. There’s nothing like a Kanye West project to bring out the best in an artist whether old or new.

DONDA, however, is by no means a perfect album. Truthfully, the album is too long. Some of the tracks on the album could have easily been cut, and no one would have noticed. For example, every song after “No Child Left Behind” is simply a new version of a song already featured on the album with just different featured artists. Instead of Jail featuring Jay Z, Jail Pt. 2 features DaBaby. Quite frankly, no one asked to hear a “part 2” of songs that were already fine with just their original versions, and I stop listening when the album gets to the repeated tracks. Another pitfall of the album is that the album feels like Kanye did not make it with himself in mind. It feels like a compilation of songs that Kanye made for other artists and he decided to add a verse to the tracks after they were done. As a project dedicated to the late Dr. West, I would’ve liked to feel Kanye’s presence a little more on the project.

CERTIFIED LOVER BOY

Certified Lover Boy was released on September 3, only a few days after DONDA. The highly anticipated project from Drake dropped and the Internet exploded with tweets and Instagram captions of standout lyrics and remakes of the Certified Lover Boy album cover. Certified Lover Boy showed that Drake is truly the King of the Internet, and no one can take that away from him. According to Drake, the album is “a combination of toxic masculinity and acceptance of truth which is inevitably heartbreaking.” The point of the album is for Drake to play into this persona of being the vulnerable lover boy rapper that all the girls love and all the men can relate to no matter how cheesy or toxic. Standout tracks on the project include “Papi’s Home” featuring a sample of “Daddy’s Home” by Montell Jordan and a surprise appearance from Nicki Minaj. “In The Bible” featuring Giveon and Lil Baby is another track that has caught the attention of many. The song is Drake rapping to a girl who claims to be religious about her hypocritical ways of judging him for his sexual past and tendencies. “Way 2 Sexy” featuring frequent Drake collaborators Future and Young Thug serves as the album’s single release and is a club anthem and Instagram caption library for listeners. The very simple track is sure to make your shoulders move and have you naming all of the things you are simply too sexy to be tolerating. My personal favorite tracks on CLB are “No Friends In The Industry,” “Yebba’s Heartbreak” featuring Yebba, and “Get Along Better” featuring Ty Dolla $ign. The project is a textbook Drake album with corny lyrics, emotional tracks, and a few hard-hitting cuts that remind you that Drake has proven himself as one of the greats.

Like DONDA, Certified Lover Boy also misses the mark in a few areas. I noticed that Drake’s features tend to outshine him on this project. Features from Lil Baby (“Girls Want Girls”), Jay Z (“Love All”), Project Pat (“Knife Talk”), and Tems (“Fountains”) all make listeners wonder what the song would sound like without the contributions from Drake. I think that’s a problem on an album that was delayed for months and expected to compete with albums by other top artists. Another pitfall of the project is that I think Drake missed an opportunity when it came to communicating the theme of the album. Certified Lover Boy should have been an album of R&B cuts and sing-song raps that Drake has made so popular, but we barely get any of those. The project was unfortunately underwhelming, did not feel cohesive, and could have been improved with the right team of people to help Drake to keep the focus on the lover boy persona that he has built.

Have you listened to Certified Lover Boy? Have you listened to DONDA? Do you agree with my thoughts? Comment your thoughts and which album you prefer!

REVIEW: “BUZZCUT” Season With BROCKHAMPTON

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In case you missed it: I wrote a brief post about artists I’m hoping to hear from in 2021. BROCKHAMPTON was on that list, and my hope is here. Did I manifest this? I guess so.

This past week, BROCKHAMPTON released a new single and music video called “BUZZCUT.” The song has a guest appearance with Danny Brown, a Detroit rapper known for his infectious laugh, unique voice, and off-the-wall lyrics. It felt so good to hear the group again, and BUZZCUT seems to be a sneak peek of what’s in store for this new Brockhampton era.

The song is pretty much only the boy band’s frontman Kevin Abstract rapping about life since the release of GINGER. He discusses the reality around the success of BROCKHAMPTON’s single, “SUGAR,” saying that the platinum record won’t matter in the face of the law. This is a touch of Kevin’s common themes about being a Black man in the United States.

He also might have hinted toward the boy band’s split with former member and Kevin’s childhood friend, Ameer Vann, amid sexual and emotional abuse allegations. Kevin misses his friend and cites the breakup as a reason the band took a brief hiatus to mourn the loss of a dear friend. ICYMI: Listen to “DEARLY DEPARTED” for more details.

Kevin expresses regret about signing to a major label after the success of the Saturation Trilogy. BROCKHAMPTON is signed to RCA for a $15 million deal requiring the boys to release 6 albums in the span of 3 years. These feelings are a follow-up to a deleted voice memo posted on Kevin’s website stating that writing songs for an album is not as joyous when you’re obligated to do it to fulfill a contract.

Danny Brown follows Kevin’s verse with hard-hitting bars about Internet culture using pop culture words like “incels” and “normies.” He also throws in a few braggadocious double entendres like “A veteran with the medicine pen,” meaning Danny is a veteran in the rap game (this is true) and his rhymes are like medicine to the rap game, but also he smokes a lot of weed (out of a THC pen).

The song ends with Joba, Kevin, and Merlyn Wood on a slowed and psychedelic outro contemplating who God is.

Overall, the song is a complete 180 flip from the themes and sound of GINGER. The group is back to being the rowdy and experimental group that saturated the music industry during summer 2017. I think Danny Brown was the perfect feature for the group, as he can match the BROCKHAMPTON’s in-your-face and noisy music style. I’m excited to hear more from the group, especially Matt Champion, Bearface, and Dom McClennon since we didn’t get to hear from them in this song. Watch the video for BUZZCUT below and comment with your thoughts!

RECAP: D’Angelo VS Friends

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Last night, the Internet was blessed with another Verzuz battle via Instagram and Apple TV. For those who don’t know what Verzuz is, you are quite late, but it’s never too late to join the next battle! Verzuz is a pandemic phenomenon created by producers Timbaland and Swizz Beatz to give artists a space for friendly competition and give fans a taste of normalcy with the cancellation of concerts due to COVID-19. Last night, February 27, Verzuz hosted D’Angelo VS Friends.

The rollout for this event was perfect as fans, myself included, speculated for weeks about who the friends would be. Lauryn Hill? Maxwell? Angie Stone? The list goes on. Notes and Melodies even used #ThrowbackThursday to celebrate the classic D’Angelo hit, “Untitled (How Does It Feel).” Saturday came and I can say that I think viewers walked away satisfied and reminded of one of the smoothest voices in music.

The event, held in the iconic Apollo Theater, began at 9 pm EST with DJ Scratch on the ones and twos. HE KILLED IT! DJ Scratch took us back to a 90s/2000s house party with hits like Salt N Pepa’s “I’ll Take Your Man,” Too Short’s “Blow The Whistle,” and DMX’s “Lose My Mind.” It’s a good thing that DJ Scratch was doing so well because D’Angelo would leave viewers waiting for one hour! However, when he finally came, he did not disappoint.

D’Angelo came to the Verzuz dressed to the nines in a full fur coat that stole a bit of attention until the singer began to perform. He addressed the speculations regarding his friends for the battle. “You all have joked that I will be the first to do a Verzuz by myself. Well, you’re right. You all are my friends.” HUH??? Definitely wasn’t ready for that plot twist.

The singer performed some of his hits from his first studio album Brown Sugar, including “Cruisin'” and “Lady.” He then took us to his second studio album Voodoo, performing a good majority of the album from “Send It On” and “The Line” to “Playa Playa” and “One Mo’Gin.” However, the show picked up when D’Angelo finally introduced his friends Method Man and Redman to perform D’Angelo’s “Left and Right.” It felt good to see the group together and enjoying the performance.

After Method Man and Redman left the stage, D’Angelo continued his solo performance, taking us to his 2014 album Black Messiah. The singer made everyone swoon, singing “Really Love” and “Sugah Daddy.” Then, he announces that he got a text revealing that another friend has arrived. All of a sudden, the beginning melody to “Nothing Even Matters” begins and the Internet went wild when HER appeared on stage. They performed a beautiful mash-up of HER’s song “Best Part” and D’Angelo’s song with Lauryn Hill, “Nothing Even Matters.” An unbelievable moment for sure.

The night was winding down as everyone vibed out to “Brown Sugar” and more. D’Angelo was preparing to exit when his DJ reminded him that he forgot one very important song. Then, we hear “Untitled.” As the song plays, Twitter showered D’Angelo in praise for his smooth vocals and beautiful lyrics praising, adoring, and uplifting Black women. The night ended with a thank you to sponsors Ciroc, Self Financial, Target X the McBride Sisters and a “Happy Birthday” to the late Dominique Trenier, D’Angelo’s former manager and a pioneer in the neo-soul movement.

Whew! What a night. All in all, the Verzuz was a viewer favorite, with one person saying “the best one yet.” Follow @VerzuzTV on Instagram and Twitter to tune in for the next battle and join the fun!