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