ALBUM REVIEW: J. Cole - Cole World: The Sideline Story

What’s good hip hop heads!  I think it’s safe to say that aside from the usual Lil Waynes, Drakes, Kanyes and Jay-Zs of the world – J. Cole has one of the most anticipated album releases in 2011 – definitely amongst the freshmen - and for good reason.   Ever since his scene stealing performance on Jay-Z’s “A Star Is Born” off of Blueprint 3, we watched him Come Up, then Warm Up, until finally, he delivered a gem of a mixtape-that-should’ve-been-an-album, Friday Night Lights, which was critically acclaimed across the board.   Cole’s time is now.  We know he has the potential to do great things, but now is the true test.  Game time…

Cole World: The Sideline Story is a dope album.  Bottom line.  In an era where Nas’ phrase “hip-hop is dead” is overused, those who are seeking for “real hip-hop” should look no further.  Boom-bap style beats, flow-switching, minimal sung hooks, substance and quality lyricism.   For those who are familiar with his mixtapes, you’ll see he decided to include re-mixed versions “Lights Please” and “In the Morning” with Drake, which are great picks. 

What I appreciate about Sideline Story is Cole’s effort to not let the pressure of having a “smash single” deter him from including more substance-oriented songs, which is where he shines most, in my own opinion.  Don’t get me wrong, “Can’t Get Enough” is a banger – but gems like “Lost Ones”, “Never Told”, and “Breakdown” have more replay value because of the sincerity behind his words and the intention in his delivery. 

“Sideline Story” is easily my favorite song on this entire album.  Prefaced with an interlude with him telling a story about how he was arrested the day he found out he was signed, Cole proceeds to vent all of the feelings and emotions of being an artist: being overlooked, dealing with temptations, even his relationship (or lack thereof) with Jay-Z.   Over a track driven by Cole’s signature drums, jazz piano and Rhythm’s “The World Is A Place” sample (also used by Consequence on his Don’t Quit Your Day Job album), Cole gives us almost 4 minutes of some of the realest words he’s ever wrote.  What I appreciate most about this song is his ability to be observant and insightful – in the same way Pac was, or even Nas.  Cole spits:

“Back when Martin King had a thing for Coretta

Wonder if she seen all the dreams he was dreamin’

Did she have a clue of all the schemes he was schemin’

Still loved him just enough to put up with the cheatin’

Months go by and only see him for a weekend

I say a prayer, hope my girl ain’t leavin’

We all got angels, we all got demons”

Another great moment on this album is the Missy Elliott featured, “Nobody’s Perfect”.   It was like a breath of fresh air hearing Missy Elliott on a song again with her crisp (and ridiculously underrated) vocals/harmonies on the hook.  In addition, it was great to hear Cole use a different flow and add a little more variety, style-wise. 

Sideline Story is a dope project, but it’s definitely not without its flaws.  Mainly the production.  It is a difficult task holding down the role of both the producer and the rapper – ask Kanye.  Ask Black Milk.  Same holds true for J. Cole.  It is clear that he has a signature sound:  mid tempo, traditional boom bap drum pattern, similar kick/snare/hi hat instrument selections, and a piano or soul sample.  At times he’ll switch it up, but for the most part he gives you the same ol same ol.  This can be a bit of a problem over the course of 16+ tracks.   Production wise, it lacks the dynamics we hear in his vocal performance.   There are songs where we hear Cole giving his all in the verse, but the beat doesn’t quite match his tone.  

Then there are beats on here that are just bad.  Like…Michael Jackson, bad.  What broke my heart was the Jay-Z collaboration “Mr. Nice Watch”.  While I appreciate Cole spinning Jay’s line from his classic record “A Million and One Questions” (“ugh, nice watch!”), there’s a lot about this song that leaves you scratching your head…pause.  Sure the beat is clearly dub-step influenced, but there’s a fine line you have to walk when genre-blending.   Not to mention, those who are familiar with his Friday Night Lights mixtape may recognize the recycled part in the hook from “It Cost Me A Lot”, which gives me the impression that perhaps he’s running low on ideas.  Other beats that missed the mark were “Cole World” and even the switch up in “Dollar and a Dream III”.  It was confusing, to say the least. 

Other than the production, I think the album might be a couple of tracks too long.  For a rapper like J. Cole, who has production that sounds similar and a flow and voice-tone that rarely switches up, his style may get monotonous to the average listener after 12 tracks.  I would rather leave the listener wanting more than to give them too much too soon, especially in today’s fickle music climate. 

Overall, I’m digging Cole World: The Sideline Story.  Very solid debut album, tells a clear story and leaves more to be desired in the future.  Does it top his masterpiece, Friday Night Lights?  Some may argue no, but if this is your introduction to Jermaine Cole, then this is more than enough to satisfy you. 

GRADE: C+ (7.7/10)


STANDOUT TRACKS: Sideline Story, Never Told, Breakdown, Can’t Get Enough, Lights Please

ALBUM REVIEW: Lil Wayne - Tha Carter IV

What up hip-hop heads!  So here we are.  Tha Carter IV.  After a year in prison, much anticipation was built for Lil Wayne’s 9^th studio album.  Many people wondered, which "Lil Wayne" will we get? The hungry Wayne who shamelessly boasted that he was the "best rapper alive (since the best rapper retired) on the first two Carter installments? Or the happy, syrup-sippin, swagged-out spitta who rapped over the game-changing beat "A Milli"?  Or the autotune singing, rockstar who crafted Rebirth? For some reason, the album that comes to mind when I think of rappers fresh outta jail is...you guessed it: All Eyez On Me.  Sure, Lil Wayne and Pac are in two completely different leagues as far as their place in history books - but there is a level of hunger that I am expecting prior to listening to anyone's album who just got released from jail.  TI, Styles P and Cassidy, also come to mind. Let's see how Young Tunechi measures up...

Ok.  Listening to Tha Carter IV feels like you're listening to another installment of Sorry For 4 Tha Wait.  It feels like a mixtape. From the "Intro", "Blunt Blowin", "MegaMan", "6 Foot 7 Foot"...all mixtape joints.  Perhaps it is his subject matter.  Perhaps it is his beat selection.  It just feels like a mixtape:  spittin, droppin punchlines over dope beats with no true concept behind the song.  It's not until “Nightmares of the Bottom” where it starts to take on the feel of an album, as far as story goes.   Sonically, there’s no new ground covered, but he definitely picks some hot instrumentals, which is expected.  “MegaMan”, “Abortion” and “I Like the View”’s beats all monstrous.

Wayne also sticks to his Carter I and II format, with the rapping-interludes, only this time he allows a slew of all-star heavyweights (and Shyne) to do the boasting for him, aside from the initial "Intro" track. While I feel like the art of collaboration has been mercilessly abused to no end these days, I can say that I enjoyed every rapper's contribution on the interludes aside from the horrificable (yes, horrificable) Shyne, who laid down probably one of the worst verses I've ever heard in my life.  No hate, just honesty.  Aside from him, I think every rapper held it down and will be the topic of debate as far as "who murdered who".  Personally, Nas gets my vote. 

While the highlights on this album like "She Will" feat. Drake, "Mirror", "So Special" feat. John Legend stand out, I must say the true gem is "How to Hate" feat. T-Pain.  This is one of the rare moments where Wayne steps outside of his swagged out, blood-reppin, emcee-bashin persona and opens up with a true life story that is relatable: 

"...she used to always say, fuck my niggas

And when I went to jail, she fucked my niggas

Well, I guess I’m single for the night

And you can sit right on my middle finger for the night

And if I sound mad, then you caught me

But this shit explains that you’re the one that taught me (how to hate a bitch)..."

Now...the problems.  The album lacks direction.  Period.  With his first Carter albums, he seemed to stick to the "greatest rapper alive" theme very well, while also weaving in street tales and balancing out the highs and lows of his life, in a way that made for a cohesive body of work.  For every "Go DJ" he had "I Miss My Dawgs", for every "Money On My Mind" he also had "Hustla Musik" or "Receipt".  I can't say the same for this one.  There are several times during the course of this album where I'm wondering, "WTF is he talking about?".  On his first Carter albums he'd dedicate full songs about something "life" related, now he recites "life is a bitch..." metaphors in almost every bar, which has been overused by him since I Am Not A Human Being. 

Tha Carter IV is in no way an "All Eyez On Me" album, in regards to being that monumental album that lives up to the hype upon being released from prison.  This is more like the mixtape warm-up project that is released a month before the actual project.  As a listener, I felt cheated.  Think about it:  here is Lil Wayne, arguably the #1 rapper of today's era, fresh outta prison.  Who knows the thoughts, emotions, and epiphanies that he must have had during that year long bid.  We've seen the extreme things prison can do to someone: we've seen Detroit Red transform into Malcolm X.  On a smaller scale, we've seen Prodigy reform into somewhat of a conscious rapper.  We've seen Shyne, for better or worse, change religions.  I wanted to see what prison did to his thoughts.  How did prison change him?  Good and bad?  Did he learn anything?  Something.  Anything with some substance. Something that contains a story of some sort.  I felt like he was holding out on us.  I understand he has an audience he is obligated to please, but he balanced it out well on Tha Carter II and parts of Tha Carter III.   

Other problems on this album are small compared to the bigger picture.  What turned out to be a nineteen-song project could have easily been cut to twelve.   Also, it would have been great to see Wayne shine on his own a little more and not rely so heavily on features.   I understand that is the trend of the game these days, but Lil Wayne is enough of a household name and has enough artistic tricks up his sleeve to where  he doesn’t need them.   In addition to the length and the features, I must say Wayne went overboard with the metaphors.  Just on a technical level as a rapper, sometimes I’d wish I wrote his lyrics down.   It seemed like for every punchline he spit that was clever and made sense, he’d drop another one that is just flat out wack.  While I’m more lenient of the “real G’s move in silence like Lasagna” line from "6 Foot 7 Foot", he has some others that are unforgiving:

"All about my riches/ my name should be Richard"

"Don't fuck up with Wayne/ 'Cause when it Waynes it pours."

"I keep some bud/ like Rudy Huxtable"

I only say this because I know the potential Wayne has as a rapper.  We've seen him kill Jay-Z on his own beat, we've seen him demolish the mixtape circuit, we've seen him flow effortlessly over some of the best beats the game has to offer, and we've seen him craft countless memorable songs. This was his moment to show some growth.   Plus, he’s supposed to be the “greatest rapper alive”.  I didn't see it here.  

If you enjoyed No Ceilings, I Am Not A Human Being and Sorry 4 Tha Wait, you will LOVE Tha Carter IV.  If you want to see Wayne grow as an artist, you might have to wait a little bit longer for that.  The album is decent, but definitely not the album I'd put out immediately after doing a prison bid. 

Grade:  D- (5/10)

Standout Songs: "She Will", "How to Hate", "Mirror", "Outro"