by iTimeless (Contact: iTimeless@ThaCarterCartel.com)
*Cracks Fingers* Once upon a time, a long, long time ago, Lil Wayne chanted "Young Moolah BABY!" In a track he graced with his presence, giving the world a glimpse of what was to come. He was featured on tracks left and right, and like a serial killer he murdered each and every single that came his way. As he did, he crafted his brand with soldiers such as Jae Millz, Gudda Gudda, Lil Twist upon others while assigning two of them, Drake and Nicki Minaj, the role of generals in his YM Army not aware that he was slowly foreshadowing his own downfall from the top with the project known as Rebirth. Then, the unthinkable happened.
While on a seemingly unstoppable run with his team, Lil Wayne was given an eight month sentence for a gun situation as he entered the land I call home, the city that never sleeps. It was left to the generals Drizzy Drake Rogers with his seizure-like hand movements and Nicki 'the Harajuku Barbie' Minaj with her psychotic facial expressions to carry the label while Wayne was locked away behind the cold hard walls of Rikers Island. They did so, and after finishing his sentence, Lil Wayne was liberated from the cage he was placed in, facing not only the open arms of his family and YMCMB, but a Hip Hop society's worth of expectations for Tha Carter IV. After the usual label politics leading to the album being pushed around, numerous excuses and even the release of Watch The Throne, Wayne had a bar set for him that is so familiar only to superstars in the game. A bar established from hype but is virtually unobtainable. Nonetheless, Wayne finally set a firm date of August 29th, aligned his tracks in order, and faced the critics and fans alike.
One thing that has become an asterisk next to the name of Weezy for many is that he has been placed on probation since leaving prison, which leaves him unable to enjoy his usual vices. Alcohol and Drugs are nonexistent (as far as we know) in Mr. Carter's world currently and as he's said in interviews, it's forcing him to write and actually contemplate what he puts in his lyrics. While this may not be the reason for it, I can ask as you proceed... is this possibly his issue?
Bitch it's Carter IV, Murder's all she wrote...
One thing that has become an asterisk next to the name of Weezy for many is that he has been placed on probation since leaving prison, which leaves him unable to enjoy his usual vices. Alcohol and Drugs are nonexistent (as far as we know) in Mr. Carter's world currently and as he's said in interviews, it's forcing him to write and actually contemplate what he puts in his lyrics. While this may not be the reason for it, I can ask as you proceed... is this possibly his issue?
Bitch it's Carter IV, Murder's all she wrote...
When I learned of the Intro, Interlude and Outro all being the same like on Tha Carter I and Tha Carter II, I was genuinely excited. I felt that left room for him to murder the beat on any of the three occasions but the issue with being a lyricist is, being good at it is left to interpretation. Someone out there will find "Bitch I'm going in, like my water broke" to be a line of a legend while I'll personally think that line is to hip hop what liver and onions is to food. Given that, remember my opinion will most likely be different from yours. Now the intro is far from amazing but the beat successfully accomplishes it's objective and doesn't tire easily. Wayne comes in here spitting alone but doesn't murder the beat by any means. "And them niggas pussy, camel toes" comes in 18 seconds into the track and I'm already disappointed with the lyrical ability Wayne expresses early, dropping his share of lyrics that I just can't take seriously. Mind you, while there is some sort of quality here, there is not enough to cancel out the lines in here that just make me look down in shame.
They say we learn from mistakes, well that's why they mistake me...
Blunt Blowin's got some power to it, with it's slow rise it leaves Wayne with 5 minutes time to fill the beat with lyrics to make as he us forgive and forget the lyrics on the Intro but upon hearing "Bunch of Bloods, you can call it blood clottin" and lyrics in it's lane made me realize that disappointing lyricism was going to cripple this project.
Told the judge I couldn't budge, It was him or me...
My frustration with this track was... excuse me, IS insane. One of the stand out beats on Carter IV which I felt Wayne would've and should have murdered, was littered with failure. Wayne seems hell bent on sliding punchline raps throughout 90% of the album and the worst part about it is the punchlines are either hard to take seriously or just downright bad. "Boy I'll send them bloods at yo ass like a tampon" & "All my bitches nasty like a cold dinner"are two of the worst just to name a couple. It's like having your favorite beverage and you fill it with water to the point where it's far from enjoyable anymore. Don't even let me get into that "baby in the trash" line either...
Bitch real g's move in silence like lasagna...
Wayne, THIS right here was what we needed. 6 Foot 7 Foot was damn near fire for the entire track and everyone expected this from you throughout the entire album. Like the line mentioned above, or even every other damn line on this track, this was buried under 6 feet of greatness. Damn near no complaints here, but I feel like Wayne exhausted himself on this, which is why we're left with such an underwhelming lyrical performance as the project went on. This album doesn't belong to Gunz but after a thorough listen, he managed to deliver a solid verse as well.
Walking on needles, I'm sticking to the point...
A nice change of pace after the speed of 6'7 and Megaman, Nightmares of the Bottom glides along with a light but enjoyable tone that sadly isn't supported by Wayne's flow. He sticks to the punchline flow for the entire thing (If not, most of it) and it really doesn't prove to be bad in terms of lyricism, but just nothing truly amazing. Wayne sounds as if he's trying too hard on occasion with lines like "Searching for today, instead I found tomorrow..." as if it made any possible sense.
And she bad, so maybe she wont, uh, but then again maybe she will...
"And we gon' be alright if we put Drake on every hook" Isn't that right Wayne? Though dangerous to claim, it proves true here. Drake doesn't save the track by any means, because the track on it's own isn't bad but Wayne seems to add Drake specifically for the sake of having his name on it. I feel if Wayne did the hook, and Drizzy was never mentioned anywhere near it, it wouldn't be bad at all but that's neither here nor there. Wayne provides his share of decent lines here and with the powerful beat courtesy of Canadian producer T-Minus (Who also did Nicki's Moment 4 Life) but I was still left wondering what we all were... even with the introduction you gave the boy, no verse from Drake? Disappointing.
(SIDE NOTE: It has been confirmed that this track (She Will) has a previous owner before Wayne getting on it. He's an underground artist by the name of J-Lie and I won't entertain it here because this is the review for Tha Carter IV, not slander hour. Google it for yourself and look at the top three results.)
You used to be the shit, but now you ain't shit bitch...
T-Wayne gets their team work on for the sleeper hit How to Hate and Teddy does a hell of a good job with the hook. Wayne's verses are less punchline driven and are just overall a good step away from what he's done so far although the "when it Wayne's it pours" was definitely a reach. Pain's hook lasts for days and that leaves Wayne with less room but it doesn't seem like too much of an issue here as it still blends well. If it was meant to be for a T-Wayne project though, I wouldn't be surprised.
I tell a nigga all those flows are borrowed it's the Pharaoh, 3 Stacks...
In the thick of the album we realize that Wayne won't be dropping flows over the Interlude and the Outro but he leave's in his place some very worthy replacements. Tech N9ne destroyed the track on his own but the hidden feature Mr. Benjamin surely assisted putting the final nail in the casket for what I believe is the best effort between the three different attempts at this beat.
But if she get greedy, Ima starve her to death...
Looking past the fact that this is INDEED Rick Ross' 'I'm Not a Star' on steroids, John is a powerful track, and a worthy single. Ross always does the best at delivering 'Sprite Zero' verses, full of lines that are decent on their own, possibly worthy of a status update but in reality, his overall efforts are full of air. Wayne provides decent to good lyrics here with the underwhelming line count practically nonexistent.
Your name is unimportant, We in the belly of the beast and she thinkin about abortion...
Man, if the beat on this one wasn't damn good. I thoroughly enjoyed this although the hook does make me wonder if this was done while he was actually on drugs when he recorded it because if so, I know why I enjoyed it so much. Lyrics are more of a hit than a miss here, the overflow of autotune doesn't hurt Wayne and if he would've left the line "Jumped on the celly, called Makaveli, he said he was gravy, I said I was jelly" off of the project, I would have no complaints.
I knock her lights out, I blow a fuse...
John Legend surprised me here. He definitely killed the hook and just from hearing the beginning of the beat I was hoping Wayne would supply quality lyricism which we got... at the cost of embarassing lyrics like "Cause she's my honey bee, buzz buzz" that were sprinkled in. Half and half here, but I still find it highly enjoyable.
Never really had luck, couldn't never figure out...
I remember the day this dropped on the net. Damn near everyone I spoke to was absolutely confused and irritated with Wayne, wondering what he was doing. Now? As I write this review, I know a FEW people who can't get it out of their heads and find it more addictive than ever. Hell, I'll admit it's a guilty pleasure of mine as well. Detail on the beat, (you know, the "tattoo girl" guy?) and I suppose they were listening long enough to know it would have this "you'll like it over time" effect to it. Well played Wayne. Well played. No punchline driven rap here, just enjoyable smooth lyrics courtesy of Weezy.
When shit get deep, I'm never afraid to dive...
President Carter leaves the beat pretty simple, relying more on his lyrical power than anything and I found the lyrics in the track to be more lackluster than actually good. Line's like "Bullshit for lunch, brown bag nigga" just weakens the overall power of the track for me but the last 35 seconds prove to be good while staying inside the pocket of the whole President Carter on the track.
Niggas talkin about Baby money!? I got your Baby money...
Oh, this track right here... the ever so controversial It's Good. Jadakiss' verse was calm, decent at best and as he confirmed, he had no intention to disrespect anyone with it. Drake also made it clear that rap is an "individual art" and that if there was any issue, people would have to go to the man himself instead of going to him. Wayne on the other hand, felt the need to make it clear he feels no fear in terms of what he says directed clearly at The Throne. This however, isn't about them. The diss was clear and the track overall was powerful with Wayne playing his usual game for the entire project, a punchline home run derby.
Look who crept in with automatic weapons, repping QB to the death of him...
Bun B has a solid 45 seconds in the beginning of but Nas decided he wanted to bury the competition, giving the third best effort on this beat and laying everyone else on the outro to rest. Third is nothing to be upset with however, as the verse was far from bad. Here's when I was hoping the tracklist was incorrect, but I was sadly not seeing things as Shyne's voice was heard. While most (including myself) immediately came to the conclusion he just hid in the booth, waited until everyone left and just left racks on racks on racks uninvited bars on the track, Shyne's flow here wasn't completely awful. People exaggerate, but it could've been much worse (we've heard Lil B on Grove Street Party right?) and then Busta Rhymes comes in and after his usual track record with features, he's been on fire. Is he here? Depends. If you're growing tired of him using that rapid fire flow, towards the end you'll be unimpressed. If you're not, it's great fun to hear him go. Calling C4 a classic? We'll get to that after I touch on the bonus tracks.
*BONUSES*
I'm 100% aware of the length of this so I'll review the bonuses all at once. I Like the View has a good beat, but it doesn't seem like Wayne wants to step away from the punchline rap. Nothing here stands out. Mirror? The beat is haunting in a good way, and has single potential. I like Wayne's flow here, and Mar's does his thing with the hook. It's a great track all together. Two Shots is an unorthodox track that sounds like it actually should be a bonus track but that doesn't mean it's bad. Lyrics are so-so, nothing worth remembering. Up, Up & Away is hard, the beat is insane and I felt Wayne could've done better, from the hook to the lyricism. Novacane features CMB's own Kevin Rudolph (you know, Let It Rock?) and it's overall a solid track, but it seems average if not only slightly above. Finally, the ignorant I Got Some Money on me comes with an assist courtesy of Birdman, but Wayne acts a fool all over the beat, having more fun than anything and it was enjoyable to hear.
*Listening to Dr. Carter* Well, this is what I would've liked to hear. Maybe not in terms of the topic but in terms of lyrical ability, quality, and flow. The biggest issue here served to be Wayne's comfort with the Punchline flow and whats worse is that the punchlines were laughably bad for the most part. I honestly see the effort to craft a great hip hop album here, but the lyrics just can't hold that weight. There could be others out there who, like I noted in the beginning, enjoyed the lyrics for what they were and felt lines I've mentioned were impressive or crazy but not over on this end and for that... Forget the competition, Wayne served to be his worst enemy. I've said before in my previous review what people fail to do is eliminate the previous from their opinions though, and for that I have to eliminate what I loved about Wayne as a fan honestly since Tha Carter I and just observe the project for what it is. Is it a classic though? I'll go out on a limb and say NOT.AT.ALL.
Timeless Tracks: 'Abortion' 'Interlude' 'It's Good'
Overall: 7/10
The Throne (Jay-Z & Kanye West) - Watch The Throne (08/2011)
by iTimeless (Contact: iTimeless@ThaCarterCartel.com)
It was no surprise that I was excited about this project. Not only for the fact that it was two of my favorite artists, but also because it was marking a glorious moment for Hip-Hop, one that we don't see too often. Now after I made that post regarding the music itself and I finally managed to download Watch The Throne to my iTunes, I noticed a few immediate reactions of course, via my Twitter account. Some had already claimed it to be far from a classic, some called it legendary, and most were judging those who made immediate reactions without holding the album for at least a few days. If there was one thing I knew for myself, it was that I was not going to review one of the highest anticipated albums of the year without having for at least a week to get a good feel for what I was listening to. So I kept a lot of my own personal thoughts about the album scarce on Twitter, and just let them stir as I listened to the records.
The problem with many individuals (especially those who discuss music on Social Networks) is that some can be easily swayed by the opinions of those who are more popular, those people being far from perfect. So when I noticed certain individuals who sat on the album no more than a couple of days say what the album is and isn't, I knew there would be many opinions to cookie cutter copy it not knowing or thinking that these popular people are just as flawed as those who follow them. They make the mistake of forgetting those opinions are, Indeed Opinions. These people can just as easily as anyone else forget what the point of all this is... the music.
Given that these artists are so epic in terms of how they deliver and create with their craft, and even the feeling they created around the project, it's too easy to get lost in the hype and expect the greatest project you've ever heard in your life instead of remembering this is ONE project from two artists who just happen to be taste makers/game runners. Now with all that said, let's really get into the actual product.
'No Church in the Wild' starts the album off on a powerful note, reminding me slightly of Ocean's smash hit 'Novacane' only on steroids. Kanye comes in swinging, flowing well with nothing really too ridiculous to repeat except for the "Sunglasses and Advil" line which everyone will put on their Facebook/Twitter accounts to represent the previous night. No Church and Novacane are similar in terms of the drum pattern but not in a way where it becomes old quickly because you feel you've heard it before. Speaking of Ocean, he definitely brings his A-Game to the track, providing a hook that I almost prefer over the verses in terms of the content and sets a tone for the album that is definitely misleading by the light, horn heavy 'Lift Off'. Beyonce's singing isn't even an issue here, but repeating the hook, with only an eight bar assist from the stars of the album? That shouldn't even be tolerated. There's almost a obvious sign here that they weren't taking themselves too seriously. I would've preferred this as a bonus.
Ball so hard mother fuckers wanna find me...
The ridiculously cocky 'Ni**as In Paris' has Hov and Ye starting up the insanely annoying "That Shit Cray" trend and reminding y'all of how great Will Ferrell movies are while they're at it. They enjoy talking that talk that only they could talk and they're going to make sure you know it. Kanye shows up Jay on here as well as the track practically becomes Ye's once the beat flips into the dramatic side. "Don't Let Me Get Into My Zone" is chanted throughout the end in different variations, with Jay coming in to add little touches to Kanye's groundwork.
Otis is one of my favorite tracks off of WTT because not only is it damn near impossible to get tired of, it's one of those rare tracks that only get tiring depending on the lyrical strength behind it and got damn, do these two go in here (Pause). From Hov Putting supermodels in a cab, to Ye making niggas tuck their whole Summer in, the flows are 10/10 and the lyrics are on fucking 20. They stripped the track of any fancy work and left the power of it with their words, and this more than anything proves they can definitely captivate with just that alone. I can't help but rap every single damn word when this comes on.
Turn my headphones up, louder...
The Neptunes laced Kanye and Jay with a easy track to vibe on, as the two go back and forth a bit here in a manner that I'm sure fans were looking for. Mr. Carter comes to life on this, showing out but Ye manages to make his line the easiest to stick around in your head. You won't be thinking of YC's hit when you hear "Racks on Racks on Racks" at all, you'll probably be thinking "Maybachs on bachs on bachs on bachs on bachs, who in that? Oh shit- It's just blacks on black on blacks". They've got a possible radio friendly track here.
Sorry Junior, I already ruined ya...
New Day is one of my favorite tracks just because of the diversity in terms of it's content. Not too often do you hear two artists this powerful make themselves vulnerable to this extent, while over a haunting but catchy RZA beat. Too many quotables to mention considering all the context around it. It's powerful, not because of the calm beat, but because of the heart the artists put into the work. I really appreciated this one.
Here the album gets reckless again, lyrics flying left and right over harder beats, starting with 'Thats my Bitch' getting a remake, making it easier to understand, adding more Charlie Wilson and even a few new Jay lines to strengthen his verse. Overall, it does make it refreshing, and Jay-Z shows his ass once again, but that could be because while listening I know he's speaking of his powerful wife that we all know is Beyonce. Who knows, but it's still a damn good track and mannnn listen, if Q-Tip didn't spazz on that beat...
Welcome to the Jungle...
This track here was somewhat simple in terms of beat which I didn't really mind but the interesting point here was that it seemed like Swizz Beatz was trying to make his beat sound more complex than it was. Nonetheless, It didn't matter as Jay reminded everyone who the fuck he was. The hunger was revived and Ye was nowhere to be found to defend himself on the track. It was Jay's time to shine. Oh and Swizz Beatz speaking on the track was superfluous to say the least. Homie, you produced it, you can't just collect the Producers check and stay off it otherwise? You just can't stop?
I can't stop...
Moving right along... Ye and Jay do a great job of creating a solid track that is both good in terms of lyrics and ALSO as a track itself on 'Who Gon Stop Me'. I believe this sold really well individually as well when the album first dropped. The first two minutes is great but the last two!? MANNNN... The beat picks up and gets radical as Jay puts Kanye in the casket again, riding the beat but with an aggressive flow, the hunger showing itself here as well.
'Murder to Excellence' is solid with the lyrical ability as well with solid production between Swizz Beatz and Symbolic One, the man behind Ye's 'POWER'. The beat flips once again half way through and here Jay and Ye were both on point but with Ye given slightly less room to stretch his lyrical limbs.
Sweet Baby Jesus...
'Made In America' has Ocean showing his ability to sing more here than in his previous feature, with Ye lacing the track with a powerful first verse. Reflecting on past things such as South Park poking fun at him, his mother, and getting No I.D.'s number, I felt he slightly stepped ahead of Jay in the long run with this track.
I Love You So... but why I Love You, I'll never know...
Jay comes in quick on 'Why I Love You' and drives home a quicker style of flowing and with more of a story to tell in terms of his relationship with Hip-Hop, he definitely shines here. The G.O.O.D music artist Mr. Hudson provides the hook and definitely did his thing there as well. The back and forth flow at the very end is deep, between "Am I my brother's keeper? Only if that nigga don't creep up" to "Cause the nigga that said he'll blast for ya, is now blastin for ya" It's definitely a heartfelt record that is a great way to end the regular edition of Watch The Throne. If you're a hardcore fan like me though, you bought the deluxe and came upon...
I need a slow motion video right now...
'Illest Motherfucker Alive' has Ye doing this thing in the first verse, showing why he deserves to do this album with Jay with lines like "Got staples on my dick (Why?) Fucking centerfolds..." while the King himself provides a chill but still up to par verse mentioning how he's already defeated Elvis in terms of his #1 albums in history.
H-A-M and The Joy are two tracks we've definitely heard before but for what it's worth, listening to Illest alive and letting it lead into H-A-M for some reason makes it much more enjoyable for me. While the Joy is the track to end the album, Primetime is the last fresh track so I'll go over that last. With it's classic beat, Hov puts the competition to rest (not only Ye, but all competition currently) with a number filled verse but the beginning in particular has him showing his ass for sure (pause). Ye provides a tough verse as well but in the end with lines like "Well Adam gave up a rib so mine better be prime" but Jay still managed to edge him out.
We're all lovers of music in our own ways, and as I tried to put a focus on before the project even came out, it's all about the music. It's always difficult to look at a project and judge it because you begin to question whether or not it's fair to compare it to the last. Something can be better because of the time it came out and the memories that surrounded it, and if the next isn't as powerful and can create a feeling just as great with it's context (which is unfair to expect) then does that automatically make it a failure? I don't think so. If you strip it of it's hype, all the talk, and the discographies of the two, do you look at this team effort by The Throne the same as you did before? I like Watch The Throne. A hell of a lot. Is it a classic? I wish I could go 5-10 years into the future and let you know, but not a person alive right now can tell you if it's a classic in the eyes of everyone, because it's not even a month after. So While Watching The Throne, don't expect so much and just enjoy the tracks for what they are, and you'll learn to Love it a lot more.
Timeless Tracks: 'New Day', 'Otis', 'No Church In The Wild'
Overall: 9/10
J. Cole - Cole World: The Sideline Story (09/2011)
by iTimeless (Contact: iTimeless@ThaCarterCartel.com)
There were whispers of him being dropped from the label after months of the album being pushed back, as well as visual leaks and album cuts being released to the public that left Cole's fans worried. Some went ahead and wrote him off, claiming that he would never release an album under Roc Nation but one thing that Mr. Dollar & a Dream had without a doubt was a strong, powerful, self-produced sound that most could say without hesitation, is a step away from whatever you hear on the radio in this day and age.
Time went on and Cole felt it was time to crash his website once again, releasing a damn near album quality mixtape that went by the name of Friday Night Lights. The project, comprised of tracks Cole felt wouldn't make it to his final project, set the net on fire and proved that regardless of the rumors, as long as Cole remained true to himself and his sound, he would have the support of his fans, whom he calls the Dreamvillians. Now, almost a full year after FNL (Which was released November 12th of 2010) and many tracks later that didn't land the way he'd hoped (Who Dat, Disgusting... Hell, even Mr. Nice Watch wasn't received with the praise I'm sure he was hoping for) we arrive at September 27th, a day where we really learn if the support is genuine. Anyone can download something for free, but in 2011 paying for a project shows true support beyond anything (I mean, look at Tha Carter IV... If that's not true fan support I don't know what is) and Cole, just like any other artist, is nothing without the fans. So the question that lurks is, did J. Cole put together a project above his past three?
...And when my story's told, let it be known I'd never fold...
Ain't it the truth Cole. A short minute and 20 seconds surrounding him and his team reminiscing over his tale, how he came to be where he is now, being heard across the world. Small talk, a few bars, and a piano intro that has now become a signature of Cole's. The difference between this one and the others? Triumph can be felt.
Watch a pawn become a King...
Dollar & a Dream's 3rd Installment carries that triumphant feel over as Cole spits some of his best verses. A damn near perfect mix of truth and metaphors, honesty and similes. The beat, provided by Cole himself (along with 90% of tracks on the project) is far from flashy, but nonetheless leaves him with a wide canvas for him to paint his picture. It's just as aggressive as it is real, and that's been one of Cole's greatest abilities thus far.
Yo Homegirl said he a bad boy, but I'm signed to the Roc, no time for the gossip, bitch put down them tabloids...
"Can't Get Enough" is a quick switch up as Cole jumps into a zone where he completely shatters the rule "Don't kiss and tell" and discusses what he deals with when it comes to the ladies. The unique beat, produced by Brian Kidd definitely gave Cole a fitting pocket to do what he does best while Trey Songz glides over the hook, doing less singing but somehow still complimenting the track as a whole. The team works well, and it was clear here.
Don't even know the rules but yet y'all trying to play the game...
It's usually frowned upon when an artist takes a track they have included on a previous project and continues to use it on another but in certain cases it can be excused and this is no different. One of Cole's greatest tracks he's ever created, the powerful, slightly somber "Lights Please" shows his greatest talent at work, his storytelling in his lyricism. Although in a way that can also come to haunt him (we'll get into that later) here it definitely comes through as he delivers 3 classic verses, all surrounding around his ability to talk about his goals, dreams and observations but it all being put on hold for now, something Cole is too familiar with. A classic track in Cole's discography without a doubt.
I'm in there, spending the night in jail realizing like, these niggas have no clue...
The interlude continues from his into, telling the story of the night he realized he was going to finally be able to sign the dotted line. Which leads perfectly into...
I wish somebody made guidelines, on how to get up off the sidelines...
Cole fades in and out of his story telling here as he continues to deliver his honesty over one of the tracks named after the title of the entire project. "I got the key to the game, they tryna lock me out" he spits, also touching on the topic of why Hov never speaks about him openly, something a few wonder. He clearly dismisses the questions and statements while fully confident in his talent, specifically focusing on how he could be taken more seriously. Something that I'm sure many can relate to in different situations.
What cha say, Cole ain't hot, what!? Where you read that shit!?
Cole gets reckless on this one, allowing himself to stunt for a bit, comparing himself to what he was back in the day while talking about how serious he is about making history now. A hook that clearly explains that you have to enjoy the moment and take it for what it is, shows why Cole might have made some mistakes on the way to releasing his project, but he made it to this point regardless. Here we get the verse everyone was waiting for as well. Carter has made it pretty clear without saying it that he doesn't want Cole riding off of the cosign, as they do the most talking when they are in each other's tracks and here Jay proudly acknowledges his confidence in his protege, while at the same time describing to sharp ears how he's way above the rest by doing what he did to the Maybach (turning it into the Maybach Mobile) in The Throne's rap powerhouse track known as "Otis". The track is also a very far step from what Cole usually provides on a beat, which makes me very excited for the beats he will create in the future.
How that feel? Very Happy!
As we come off of the high of Hov finally giving Cole his verse, we get a crazier beat that surprised me to be the title track. The bottom line for this track was obvious, here Cole definitely tries a few experiments. Between the Ross-like adlibs (woo!) the energized beat that sounds unlike his usual nostalgic but fresh formula. The flows and delivery was slightly risky as well, unlike a usual delivery but still immediately catchy. The lyricism was without question, like the rest of his work, on point. He's making it clear here that he can step outside of what he calls home and still make it work... well.
Baby you Summertime fine...
For the ladies. That's the only reason I could possibly see him putting "In The Morning" on the project. I like the track itself, but in terms of the album it wasn't needed. It received radio play and the Drake feature on the album does look better but nonetheless, the project could've done without it. Not to mention the world still awaits the J. Cole vs Drake lyrical battle we hope we'll get one day. Who knows.
I ain't too proud to tell ya that I cry sometimes, cry sometimes about it...
Cole said early on once the title was announced that more than his story would be told on his debut project and this is a clear example. "Lost Ones" has Cole switching between a woman and a man on his first two verses, delivering amazing dialogue between the two then finally rapping from a 3rd person perspective, watching the entire situation unfold. It's a moving track, but after enough listens it did make me wonder why this was placed here instead of another track that would focus on him. Surely, he had more to say... Right?
Death over Dishonor, they killin niggas for J's, thats Death over Designer..
Arguably one of Cole's top 5 tracks he's ever made, oddly enough features a recently M.I.A Missy Elliot. She takes good care of the track with her tone and proves she hasn't lost shit at all, while Cole reflects. It carries a old school (90's) feel but at the same time is fresh and welcoming. Side note: You can look for this to be the next single off of the project.
I never told...
Here we get another track where Cole tells the stories of other personalities, switching between different characters between verses. The track is on point here, ruthless in terms of the reality of the situations. It's gripping and that's really what an artist hopes for when he or she makes a track that is meant to relate to others.
In between eating the apple jacks, hes writing some SHIT. I'm gonna find him though, and I'm gonna sign him. I don't want no problems.
Mannnnn Listen, Cole comes out swinging on this one and that's easy to tell right from the Jay sample he took in the beginning. Lyrical fire left and right here over a typical Cole beat but obviously polished to be one of his best. Fully aware of himself and his album, I see the effort to make it the very best it could be, and between the relentless bars and the soulful yet hard beat, this is one of those tracks that show you exactly what kind of artist Cole is.
No I don't know where I'm going but I'm going now, you coming with me...?
God's Gift is slightly less of an attention grabber in terms of it's beat. It's one of those that allows all the room in the world for lyrical homicide, which Cole confidently does justice. Interestingly enough, this was the track that Jigga turned down originally.
Don't Break Down...
Another tale from another perspective, but damn when I think I've heard these tracks enough not to be captured by the man's storytelling, I end up feeling some kind of way when the sounds coincide with Cole's tone and delivery. The man's a master at telling stories, and he knows it. Throughout all three verses he continues telling the stories of those who have their own issues, carrying you through emotions if you listen carefully enough. It's a great result.
I feel the lows, like that's all I know...
One thing I did in the beginning was mention that Cole had a lot against him. Like album cuts being leaked. For example, "Cheer Up" along with others (Lost Ones and more) leaked way ahead of time. I mention this here because at this point, I grow tired of hearing everyone else's stories. Maybe it was because I heard this so early, maybe it's grown old by now. Don't get me wrong here, this is a solid track, not unlike the other in terms of him spitting another 3 verses of stories from those who struggle, but Cole this is YOUR project, more from you on what it took to get here, less from everyone else.
I try, You try, We try...
A soulful record that surrounds the ugly in relationships ending. Decent in terms of the beat, the hook (done by a woman I'm unfamiliar with) provides a nice balance to Cole's explanation and helps the visualization. Far from one of the standout tracks on the project.
Straight up, now tell me, do you really wanna Love me forever?
Cole's lead single on the album comes second to last as we're well into the bonus cuts and it's interesting that this was his decision as he definitely has other potential tracks to represent him, especially as the lead single. Nonetheless the Kanye West, Paula Abdul influenced track is a favorite, highly catchy and without the pressure of the title "lead single" over it, is highly enjoyable. See the video here.
She thinks she's ready for the world...
An odd choice to end the album, but one of the better tracks once again telling a story like only Cole can. This one however, is more solid and structured than the other stories we've heard from him. Does that stop me from my feeling of wanting more Cole related lyricism? Sadly not.
I've said it before, and I'll say it again... we all want Cole to WIN. We want him to succeed and most know he's capable of being the best. Blogs didn't post leaks, we didn't post unauthorized videos (well known blogs didn't, at least) and in the end we did the very best we could all do so all he had to do was put out a project that was at least just as good, but hopefully better than the three before it. That said, Cole is easy to relate to, especially with his ability to write in the perspective of whoever he chooses. That's what makes us appreciate him so much in the first place but, I felt there was too much of him trying to give us what he might've thought we wanted.
Yes, we all appreciate your ability to tell a story Cole, but around the end I feel like there was a definite lack of Cole's own story in the long journey to releasing the project. I would've preferred a track to end it where he reflected on all of the effort it took to get him where he is now and his satisfaction with it, or even whats to come. Maybe you say he did that in other tracks, well in that case the flow of the project could've been better. That said, there's not much wrong with this at all. I keep in mind that it IS his debut album and if this is what we can expect from Cole in the future... I'm looking forward to it. Now lets hope the Dreamvillians are out supporting because if Cole can improve from here, It'll definitely be a Cole World.
Timeless Tracks: Sideline Story, Mr. Nice Watch, Rise & Shine, God's Gift
Overall: 8.5/10
