In this episode of BBB Radio, Ricardo talks about the $68 billion acquisition of Activision Blizzard by Microsoft with Ashton Menzies (“The Unquestionable Nerd”). Later on in the show, Ashton reviews Season 2 of the Netflix animated series “Dota: Dragon’s Blood” and the first seasons of the Indian series “Decoupled” and “Yeh Kaali Kaali Ankhein”. Additionally, I share my thoughts on Kenneth Branagh’s “Belfast” (with Ricardo), the first season of Showtime’s “Yellowjackets” and the Netflix stop-motion animated anthology film “The House”.
For his first-ever interview, Matthew talks with E Smitty, North Carolina singer/songwriter and one half of the music duo The Soul Powers. They discuss the early years of E’s music career and how he met Ontario producer/DJ Shy The BeatYoda, the other half of the Soul Powers, in addition to breaking down the Soul Powers’ 2021 debut album “The Beginning Of…”
For my 95th (!!!) Fiverr review, I’ll be covering “Vol. 1 Midnight Music”, the newest album from rapper, producer and South Carolina native SC4Real (a.k.a. Rick Cool) and a follow-up to his 2020 debut “Hypermode”. On that particular album, which featured the singles “21st Floor” and “Like Butter”, SC4Real treated listeners to a collection of well-written, well-performed raps over smooth, mood-inducing production laced with 80s R&B and dream pop-inspired synth work. But the two most fascinating aspects of “Hypermode” – which are carried over into this new album – are his approach to song structure and his solo work behind the mic.
I mentioned in a recent album review the ever-decreasing attention spans of today’s media and content consumers. Very rarely (mind you, I could be wrong here) do rappers spit three verses and a recurring hook on a track these days, let alone one meant to promote a rapper’s upcoming project. And yet SC4Real did that on a majority of songs on both “Hypermode” and “Vol. 1 Midnight Music”. The first few bars on “Warmup 2”, the album opener to “Vol. 1” and sequel of sorts to the opening track of “Hypermode”, states how he firmly adheres to old school hip hop aesthetics even though he’s rapping in a comfortably contemporary manner (“I was told I’m a lost cause / Damn, dog, cuz I don’t flow like y’all / I flow legendary like graffiti on the wall”).
And with the exception of a few of SC4Real’s homies, one of whom appears at the tail end of the lead single “On It” and the other two who show up on the following track “The Crew Freestyle”, he’s technically the ONLY artist on the album! Like Nas (who’s brought up as one of his influences on the track “Final Fantasy”) on “Illmatic”, SC4Real rides solo on this album, performing verse, chorus AND production duties. And surprisingly, he does a remarkable job with all three, delivering sticky hooks, tight flows, memorable punchlines and versatile instrumentation throughout the album’s near-hour long runtime. On the subject of song structure, SC4Real wisely and admirably keeps his verses fresh and engaging, with an even blend of style and substance and devoid of fluff and padding – especially on the longer album cuts.
Also noteworthy about “Vol. 1 Midnight Music” is the division of its tracklist into two specific vibes and times in the day. The first half of the album incorporates a nocturnal vibe with songs ranging from club /party jams to trunk slappers you can listen to on the way to said club or party. The second half, however, has a daytime feel with an emphasis on more thoughtful, introspective songs. Thanks to the consistency behind SC4Real’s production, you can play these tracks at any time and still feel their respective vibe.
After the abovementioned “Warmup 2”, the album’s first half begins with “Let’s Ride”, a breezy, upbeat track where SC4Real raps about having a new lease on life, figuratively and literally moving forward from his past mistakes and setbacks with his hands on the steering wheel. The following track “Light it Up” centers on SC4Real’s constant pace through his life and career and features a thumping beat laced with a hypnotic, spacey synth lead.
The momentum continues with “Feelin’ It”, whose chorus feels like a subtle tribute to the hook on Jay-Z’s iconic song of the same name from his timeless debut record “Reasonable Doubt”. Over an irresistibly laid-back beat, SC4Real gets into full braggadocious mode, inspiring and entertaining listeners in the process (Points for his “The One like Jet Li, Crocodile on the sneaks / One time for Dundee, How could you not love me?” bars, by the way). This leads into two of the album’s best tracks: “A Good Time” and the aforementioned “Final Fantasy”. “A Good Time” features these bouncy, pleasurable grooves and a catchy-ass hook (His “Don’t stop, get it! What’chu say?” call-and-response alone is a guaranteed crowd pleaser), while the latter includes a vibrant, vaporwave-esque beat which sounds lifted from some sci-fi themed RPG.
The ‘night’ half of the album draws to a close with a trifecta of tracks. The first is “Primetime”, whose whiny synth, drum programming and vocal delivery from SC4Real evoke the sounds of 2000s Dirty South hip hop, followed by “Get Down” with its smooth, quiet storm production and internal, in-my-zone lyrics (As a wrestling fan, I’ll admit the “Randy Orton skillset, killer mentality” line did stick out to me). And then we get the abovementioned lead single “On It”, a lyrical mixture of cockiness and self-affirmation set to a hazy, late night creep-oriented instrumental.
“The Crew Freestyle” feels like a transitionary track between the nighttime and daytime vibes of the album. And while it is a pretty decent ‘crew’ song, I felt that it would’ve benefited with….well….the crew itself, or at least a couple of members spitting a guest verse each. Given its title, this track would’ve made for a great posse cut, but here’s hoping we get a remix to it sometime in the near-future.
The day session begins with the aptly-titled “Sun Up” whose beautifully dispirited, piano-driven melody sounds like another subtle tribute to “Reasonable Doubt”; in this case, its final track “Regrets”. Similar to Jay-Z on that song, SC4Real removes his armor and exposes his emotional scars, one of which was left by his ex in a gut-punch of a final moment. That exclamation point on “Sun Up” works as a brilliant segue into the track “Circles” where he examines an on-again, off-again relationship that, to him, feels cyclic, incomplete and unsatisfying.
SC4Real kicks off the final quarter of the album with the heartfelt “Press On”, where he offers words of encouragement to move forward through the pain and stress life throws at us, from coping with the death of a loved one to dealing with problematic law enforcement (whom he takes specific jabs at in the third verse). He gets introspective (and a bit political in the second verse) on the following song “Show & Prove” as he raps about self-improvement in an ever-changing socio-economic environment.
The album’s final two tracks find SC4Real in a contemplative mood, looking back at the figurative darkness of night and moving ahead through the light of day. On “My Zone”, set to a moody, mid-tempo beat, he raps about the mental and physical ‘lone time’ we all occasionally need from the world (Again, similar to Jay-Z’s “Feelin’ It”). And “What it Is” brings the album to a satisfying note with a jazzy, trap hi-hat-laced instrumental and an optimistic, goal-oriented viewpoint on life from SC4Real as he heads back out into the world (The Master P “Bout It” vocal tribute on the outro was a great way to end the track, by the way).
As a whole, “Vol. 1 Midnight Music” is a solid album! While it could’ve benefited from a guest feature or two, SC4Real amazingly holds things together with great production, proficient wordplay and relatable subject matter. If you’re a fan of high-quality, no filler, no BS rap music, you should definitely seek out “Vol. 1 Midnight Music”!
OVERALL RATING: 8 out of 10
Now available on Apple Music, Spotify, Audiomack (Radio Edit version) and Tidal
For the Season 2 premiere of BBB Radio, Ricardo and I acknowledge the passing of celebrities over the first half of January 2022, in addition to reviewing the sixth and final season of the sci-fi series “The Expanse”, the fifth episode and season finale of the Trinidadian superhero web series “Magonolia”, the Season 2 premiere of CW’s “Superman & Lois”, the series premiere of CW’s “Naomi”, the first 3 episodes of the “The Suicide Squad” spin-off “Peacemaker” and the Apple Original movies “Swan Song” and “The Tragedy of Macbeth”.
“Case Files 2” is the sophomore album from CA$e, a Texas-residing rapper and member of the hip-hop collective Theory, and a direct sequel to his 2019 debut EP. On that debut, the ‘Southernfied King’ (as he calls himself on the opening track) treated listeners to some razor-sharp, introspective lyrics centered on growing up tough in an already tough environment. Its moody, trap-flavored production helped establish a near-cinematic vibe throughout (the acoustic guitar, flute and establishing drum pattern on “Licc”, for example, sound like they’re lifted from some classic spaghetti western film), as if we’re watching an autobiographical short film based on CA$e’s life.
His 2020 debut album “Message From Tha King” incorporated more soul samples into its instrumentation, like the chopped vocals of a cover version of Barbra Streisand’s “The Way We Were” on the intro/ lead single of the same name and the lo-fi, vinyl-crackled strings and piano keys laced over the final track “HomeBound”. And from a production standpoint, this new album feels like a continuation of that sonic aesthetic: a sleek, contemporary reworking of classic soul songs that’re being blasted from the sound system of a Slab.
Where “Case Files 2” excels is the way CA$e approaches each of the album’s ten instrumentals (similar to “Message From Tha King”, two skits are added to the playlist). Lyrically, he keeps things bold, grimy and cognizant as he raps about everyday struggle and survival, carving his own path as a man and dealing with his personal flaws. But with these nostalgia-evoking beats behind him, CA$e frames himself on the album as both student and master of the game, spitting a wealth of knowledge clearly passed down from OGs and elders, in addition to cold, hard truths you can only learn through personal experience. On the subject of truths, the underlying theme of “Case Files 2” is truthfulness, whether it’s the topics being addressed on the album, the raw honesty behind CA$e’s lyrics or the perpetual artificiality present in today’s rap scene.
The album kicks off with the lead single “Way of Life” where, over a murky, vibraphone-led beat, CA$e raps about his perception of the world around him and how he maneuvers through it, from the loyalty he has for his peers and disregard to those who’d sever themselves from that loyalty for their benefit (“I play the hand that was dealt to me, nigga / It’s no surprise you took the stand and broke the oath between members”) to the caution he exercises on the streets on a daily basis (“But fuck that, ain’t no love in my city / I keep the gun packed, can’t put my trust in too many”).
Following this, we get “Ghostface Killah” which, as a die-hard Wu-Tang fan, instantly piqued my interest. But the title is really a wickedly clever – and rather ballsy – description of how CA$e sees himself on this track: a lyrical killer of ‘hard’ rappers who spit in verbatim the experiences their ghostwriters lived in real life. This track also boasts one of the album’s best instrumentals – an irresistibly smooth, soulful instrumental laced with ghostly male vocals – and best features with a fantastic verse from guest rapper Rob Lee, whose voice always reminds me of Dungeon Family’s Big Rube every time I hear him.
Speaking of guests, fellow rapper Vega, who appeared on the first “Case Files” project, comes through with a grimy verse on the legacy-themed “Open Cases”, which not only matches the griminess initially brought to the track by a strikingly laser-focused CA$e, but the overall chilly vibe established through its nocturnal, flute-driven beat. On the album closer “Mutumbo” which (thanks in part to its sunny, breezy production) concludes the project on a surprisingly optimistic note, CA$e trades bars with his “country partner” Duece Trey, with both emcees displaying some excellent rapport in the process.
Even when he’s alone behind the mic on a large chunk of the album’s tracklist, he stands tall and makes his presence known. Take the one-two combo of “Burnt Bridges” and “The Get Back”, both of which feature these exquisitely melodramatic instrumentals. The former track finds CA$e dealing with betrayal from former friends and responding to their actions accordingly, to the point of calling one of them out BY NAME! And similar to James Brown’s “The Payback”, “The Get Back” may very well be CA$e’s entrance theme as he aggressively reaffirms his grind and re-establishes his status in the community, taking no prisoners and absolutely pulling no punches.
But it’s not all flexing and dominance on this album as CA$e shows off his vulnerable side quite a few times. Over the wavy, relaxed sounds of “Karma”, which utilizes a sample of The Stylistics’ “Payback is a Dog”, CA$e raps about how his commitment to his career and the sincerity in his bars aren’t enough to deal with the emotional pain he constantly deals with. Even coping with that pain through various means isn’t enough, as he states on “HOMEBOUND 2”, an emotionally despondent sequel to the aforementioned final track of “Message From Tha King”.
On “Exhale interlude”, CA$e takes a noticeably creative risk by flowing rhythmically to a drum solo looped over a dark, moody beat. The production itself adds to CA$e’s paranoia and frustration on this track, as he sounds tired and distressed over his pent-up stress and innermost burdens. Then on “Was it Worth it….”, CA$e asks the titular question as he looks back at the decisions he’s made – good and bad – in his journey to manhood. My one gripe with this song is that it’s oddly shorter than the preceding track “Exhale interlude”. Its relatable themes of self-assessment and regret could’ve been explored further and its beautifully melancholy beat could’ve played on a bit longer.
Overall, “Case Files 2” was a well-produced, well-written and well-conceptualized album, and a worthy, mature follow-up to CA$e’s debut project. It’s a cold-blooded, hard-hitting slice of Southern hip hop that plays out like the soundtrack to a Blaxploitation flick. And like the classics in these genres, I do see myself re-visiting this project and enjoying it even more than I already do.
For my 90th (!!!) Fiverr review and first review of 2022, I’ll be covering “Neo Queer”, the sophomore album from Chicago-residing singer-songwriter and multi-genre artist Terry Blade. Following the releases of his debut EP “Misery: Mastered for Headphones”, his award-winning debut album “American Descendant of Slavery” (which I ranked on my BBB RADIO podcast as one of the top 5 albums of 2021) and the surprise EP “Unmastered: The Demo Sessions”, the obvious question I had going in to this new record was where Terry was going to go, both musically and thematically.
Whereas “ADOS” examined the correlation between the generational effects of slavery and internal / external acceptance of and within African-American and LGBTQ communities, “Neo Queer” finds Terry returning to the main theme of love that made “Misery” an emotionally engaging listen. Throughout its 10-track duration, Terry touches on different facets of love, whether it be self-love as a result of acknowledging and owning one’s identity, love towards others (particularly in the LGBTQ community), finding love and of course, unrequited love. Interestingly, the title “Neo Queer” has a double meaning, as the album itself serves as both a love-themed look at the contemporary queer experience and a continuation of the neo-soul sound (which I’m a HUGE fan of) but from a queer perspective.
Oddly enough, the latter meaning of the album title came to me via the final track and breakup song “The Silent Treatment (ELEM Version)” which is a near-exact version of the Shivers Remix of that same song on “American Descendant of Slavery”. With the first few listens I gave “Neo Queer”, I pondered on this song’s inclusion on the tracklist, especially how the Shivers Remix left such an emotional impact with its sequencing after the heartwarming “Same Gender Loving”. And yet from a thematic and sonic perspective, the inclusion and placement of “Silent Treatment” is a truly smart call, thanks largely to the neo-soul aesthetic prevalent throughout this album.
The production on “Neo Queer” alone is guaranteed to please fans of neo-soul and R&B in general, with its mostly wavy, atmospheric, quiet storm-inspired instrumentation. The chilly, mid-tempo grooves of the album opener “Elephant” sets the mood of the album perfectly, and Terry puts its instrumental to great use with a BRILLIANTLY RAPPED (yes, there’s some rap on this album), self-assertive, middle finger-raised declaration of his sexual orientation to his homophobic haters. The end result is not only one of the best songs I’ve heard so far this year but also one of the best songs Terry’s ever made!
Speaking of rap, South Wales, UK rapper/producer Charlie J – the sole guest on this album – comes through with an incredibly heartfelt final verse on the penultimate track “Blue”. Lyrically, Charlie matches the emotional helplessness Terry expresses throughout the song with his blue color-themed metaphors, which in turn, matches the song’s despondent, bluesy production. And it’s here where the inclusion of “The Silent Treatment” makes perfect sense as we’re given some, if not all, of the reasons why on that particular track, Terry feels so lonely, depressed and disenchanted, in addition to how the self-assertion presented on “Elephant” may serve as a veneer to hide his innermost thoughts, emotions and imperfections.
And while “The Silent Treatment” shows Terry within the crossroads of a doomed relationship, tracks like “Let it Go” and “Same O Love” finds him voicing his opposition towards his ex’s actions and decisions. On the former, which features a hypnotic, downtempo instrumental, Terry expresses his emotional metamorphosis, rebirth (he respectively uses ‘cocoon’ and ‘tomb’ on the first and second verses) and eventual actions taken to remove any and everything that reminds him of his ex – like “his cup, all stained with Folgers” – and the memories they shared. On “Same O Love”, Terry incorporates a retro-soul vocal delivery to cut his former partner down to size, and thanks to the track’s soul-and-funk fused instrumental, you can almost picture this song as part of the soundtrack to some classic Blaxploitation flick.
Of course, we get some love songs on “Neo Queer” – a trifecta of album highlights to be exact. First, we have the airy, vaporwave vibe and smooth vocals of “All Ways”, an earnest celebration of unconditional love despite each other’s flaws which I predict will become an anthem within the queer and trans spectrum communities in the near-future. Afterwards, we’re treated to the nocturnal, piano-driven sounds of “Moment” which, upon first listen, may come off like your average, sexually-charged bedroom song, but actually captures a sweet, intimate moment between a crooning Terry and his partner in the bedroom, with Terry serving as the protector and emotional confidant in this scenario. The latter track and album single “Elixir” is easily the most sexually-suggestive track on the album, with its sensual imagery (the sensory lyrics on the first verse alone are absolute mood-setters), ballad-like vocal delivery from Terry and appropriately slow and sultry R&B/soul instrumental.
Noteworthy moments on the album include its temporary removal from its primary neo-soul sound on the Ryini Beats co-produced album single “Eaten Alive” and the interlude “You Don’t Know”. On the former, which features a downbeat acoustic guitar melody, Terry utilizes a truly impressive triplet flow to rap from the perspective of both his current and younger inner voices (the latter of which is achieved through some vocal distortion) as he deals with internal issues concerning his identity and self-confidence. And within the hook-based interlude “You Don’t Know” (the hook itself may very well be the tagline of this album), Terry concisely and masterfully conveys the frustration he feels over his “endless compromises” towards being appreciated in a solid, healthy relationship and accepted in a world that continues to disparage him for being queer and black.
As a whole, “Neo Queer” is a fantastic follow-up to “American Descendant of Slavery”. It is a sonically and thematically leaner album compared to the grand scope and scale of “ADOS”, but its irresistible neo-soul production and stellar vocal performances by Terry make for a delightfully chilled-out and laid-back listening experience. Additionally, its relevant and relatable themes of life, love, identity and sexuality are guaranteed to appeal to Terry Blade fans and first-timers to his style and sound. Terry certainly started 2022 off strong with this release, and this is definitely an album I see myself enjoying throughout this year!
OVERALL RATING: 8.5 out of 10
Now available on Spotify, Apple Music/iTunes, Bandcamp, Amazon Music and Deezer
For my second track review of 2022, I’ll be sharing my thoughts on the re-recorded version of the track “Boston Light” from Chicago singer/songwriter/producer/multi-instrumentalist C.W. Franz. The original version was part of his 2017 album “I [survived]”, a sonically and thematically cathartic release of his internal burdens at that time.
That version was, for lack of a better term, rough – and yet there’s the sense that intentionally, it was meant to be that way. C.W.’s whispery, disenchanted vocals and forlorn lyrics gave the impression of his struggles to recover from a broken heart and accept the mistakes he made during the relationship. The keyboard and acoustic guitar-based instrumental seeps through C.W.’s dark cloud like rays of sunlight, beckoning him to move forward towards its glow.
With “Boston Light” being (according to C.W. on Bandcamp) one of his all-time favorite songs he’s ever recorded, and with the release of this new version fairly early in the new year, I get the feeling this is part of some New Year’s Resolution of his: taking something personal to him, though admittedly rough around the edges, and breathing new life into it. And with this remix of sorts to “Boston Light”, he certainly achieved that!
The decision to go adult contemporary, as opposed to the original’s sparse, vaporwave instrumental, was a wise one as we’re treated to some pleasantly serene and textured production from C.W. with support from guest performers Tom B on piano, G.V. Trevisan on fretless bass guitar and Manuel Trabucco whose tenor saxophone melodies sound GORGEOUS throughout this track. C.W. adds his signature nostalgia-evoking flair to the track with some airy synth leads, the last of which ends the song on a satisfyingly dreamy and optimistic note.
And while the lyrics to “Boston Light” remain intact, C.W. sounds more expressive than he did on the original. Compared to how ‘trapped’ he sounded in his own feelings back then, you can hear the vulnerability, sentiment and regret in his voice. His opening line in particular blasts through the production (“I’m no good at intimacy”) as if he’s given a second and final chance to reveal his innermost feelings to the world. And for the rest of the track, he delivers his vocals in a bittersweet manner, reinforcing his views on the fleeting nature of love (“Love’s cheap nowadays / And kindness is in short supply”), learning from the ups and downs of that past relationship and holding on to the sweet memories he salvaged from it (“So aim your beam right between my eyes / Stay, my Boston light”).
While this re-recorded “Boston Light” is a vast improvement over the original, you can still enjoy and appreciate the latter as part of the deeply personal, confessional narrative of “I [survived]”. Perhaps this version of “Boston Light” will become part of an eventual series or project of re-recorded versions of C.W.’s favorite song compositions. Then again, it’s still early in the year.
“Social Distance” is the newest project from Arkansas-born rapper, producer and founder of Greenprint Entertainment J. Whiz, in addition to being his first studio album in roughly 8 years, following his absence from the rap game. Prior to listening to “Social Distance”, I checked out his previous project, 2012’s “M.V.P.”, to get a feel of J. Whiz’s style and sound. Overlong runtime aside (then again, this was before the days of one-week-later deluxe edition releases and ever-decreasing attention spans), “M.V.P.” was jam-packed with head-nodding, oftentimes trunk-rattling, Southern-flavoured production with dashes of West Coast hip hop and G-funk sounds, sharp wordplay from J. Whiz and his guests and varied subject matter from hustler motivation (“Mind of a Boss”) to inner-city violence (“Keep it Movin’ (Helltown Bluez 2”).
But the one noticeable aspect about “M.V.P.” was its adherence to old school hip hop aesthetics, particularly J. Whiz’s rapping style and production choices. J Whiz’s vocal delivery is usually in a similar vein to the smooth, casual flows of legendary emcees like 2Pac and DJ Quik, and on the subject of those two, the soul and funk sample-based production on “Self Made” and “#1 Spot” sound like sonic tributes to “Bury Me a G” and “Born and Raised in Compton” respectively.
In 2020, he informed the rap game of his return with the single “Tha Stroll”, a roughly 6-minute dance song that, on paper, sounds like a retread of 2000’s aerobic-associated songs like “Cha-Cha Slide” and “The New Workout Plan”, but is actually a clever and fun way to get his listeners moving while stuck at home during quarantine. And it’s this new school/old school crossover approach J Whiz brings to the table on what is essentially his comeback album.
“Social Distance” kicks off with the lead single “Intro” which is, by definition, an intro but one in which J Whiz introduces and re-introduces himself to the listener with the help of a mid-tempo, bluesy instrumental. J Whiz rides this beat effortlessly, showing off some truly impressive triplet flows and displaying focus and optimism throughout as he embarks on this new chapter of his career. Over the chilly, trap-flavored beat of the following track “Tha Game Needz Me” (a reference to his 2007 debut album of the same name), J Whiz lays out his “new mission” statement: bringing something different with regards to lyricism and content into a hip hop landscape already saturated with wave-riding, generic-sounding rappers.
He expands on this on the title track, the title of which is a clever take on the all-too familiar term which became part of our vernacular in 2020. Even when he says on the hook “I ain’t got no competition, ‘cuz I social distance / I’m in my own lane, ‘cuz I social distance / Ain’t nobody coming close, ‘cuz I social distance”, J Whiz wisely frames himself as being focused on his own grind and carving his own creative path without sounding arrogant or condescending. And even with his level of success, he still remains cautious over those who either want to suck him dry or see him fail as he explains on the track “Counterfeit” (“I ain’t got no friends, only loved ones / You got love for me….or either you don’t”).
Yes, he’s a veteran in the rap game but he never uses his years of experience as an excuse to sound pompous on this album. He’s grateful for his achievements and the lessons he learned to achieve them, and you can tell he’s attempting to encourage the listener to chart their own course towards success.
Take the inspirational track “We Made It”, which boasts one of the album’s best beats with its soulful, organ-assisted mellowness, where he raps about his early dreams of becoming a rapper and the years of hard work it took for him to get there. “Young O.G.”, whose hook functions as a contemporary, motivational version of the iconic chorus from 2Pac’s “Ambitionz as a Ridah”, finds J Whiz rapping passionately about his passion, drive and work ethic over a stirring, piano-laced beat. There’s also the incredibly relatable “Stuck n’ Traffic” where he assures listeners to keep moving towards greatness even when life places you in a position you didn’t anticipate. This song in particular is one of two tracks featuring guest singer Roxiie Reese, who compliments J Whiz with her gorgeous vocals.
The other is “Feelin’ Good” which includes a warm, sunny beat, in addition to two verses, a catchy hook and positive lyrics centered on making the most out of each and every day. Compared to his previous records, this track is the closest thing to a party song we get on this album, but one that feels more universal, heartfelt and optimistic. Additionally, we do get a love song in the form of the affectionate “Call Me” which features a great hook from guest crooner Jason Ray and some nice sampling of the William Bell single “I Forgot to be your Lover” on the instrumental.
On the flip side, J Whiz doesn’t hesitate to remind listeners of the times and conditions we still live in, like on “Can’t Come Back”, an emotionally gripping story of a young woman’s downward spiral in the midst of an abusive relationship with a drug dealer. Reminiscent of 2Pac’s timeless “Brenda’s Got a Baby”, J Whiz’s storytelling cuts deep and sounds even more heartbreaking thanks to the track’s despondent, guitar-driven instrumental. He even gets a bit political on the track “Young Black Male”, where he raps about the daily socio-economic pressures young African-American men endure within the broken system of the United States.
But it’s the last two tracks that stand out as my personal favorites. The first is “Through tha Pain” (whose title is a reference to J Whiz’s 2007 song “Through tha Years” which featured his now-deceased friend Chilly C), a powerful, tear-inducing tribute to loved ones who’ve passed away and an encouragement to the listener to keep on living despite the indefinite pain and grief. Its emotionally-driven, R&B instrumental, laced with some ghostly male vocalizing, creates this nostalgic feel as if we’re listening to classic 90s rap songs of this nature like Master P’s “I Miss My Homies” or 2Pac’s “Life Goes On”. The album closer “Tha Script” expounds on the aforementioned message of “Stuck n’ Traffic” by using a filmmaking concept to illustrate the idea of playing our respective, God-given roles in life and sticking to the script (hence the title) until we get to the last page. Backed by J Whiz’s strong songwriting and appropriately moody and dramatic production, “Tha Script” ends the album off on a truly high note!
Overall, I really enjoyed “Social Distance”. Thematically, there wasn’t anything unique or extraordinary on this project, but it delivers on potent lyricism from its host, consistent production, noteworthy features and genuine heart and emotion. J Whiz did has damn thing on this album and here’s hoping he continues to put out great music in this latest phase of his career. In short, “Social Distance” comes highly recommended!
OVERALL RATING: 8 out of 10.
Now available on Spotify, Apple Music/iTunes, Amazon, Deezer and Pandora
For my first track review of 2022, I’ll be sharing my thoughts on “Something Beautiful”, the Christmas Eve-released single from SoCal-based experimental hip hop artist and producer Clem de la Creme featuring veteran Wu-Tang Clan affiliate Killah Priest. Now if you’re a Wu-Tang fan like I am (and why wouldn’t you be), a collaborative track featuring a Wu-Tang member or affiliate released in this decade should at least pique your interest.
But the man who’s front and center on this track is Clem de la Creme, who’s had a pretty busy 2021 with the release of a beat tape under the producer alias Grammashouse (individual tracks are for sale on his website), two EPs (“Lovedown” and “Just Us.”) and a few singles, one of which is the collaborative track “She Whispered in my Ear”, featuring Wu-Tang member/affiliate Cappadonna.
While that single was a smooth, affectionate love song for the ladies, “Something Beautiful” is a darker, sensual and sexually-charged track, clearly designed to be a mood-setter for intimate, ‘one-on-one’ sessions. Its instrumental, provided by UK producer Temper Beats, sets the tone brilliantly, with its icy keyboard melody, throbbing bassline and hypnotic vibe throughout. Killah starts the track off on a straightforward note, rapping from the perspective of being alone in the private room of a strip club, getting a lap dance from a rather attractive dancer. The more entertained and aroused he gets, the more dollar bills he throws at her (“Went from throwing Jeffersons to throwing Grants”). He ends his verse with a wickedly clever bar (“Head in my pants to ‘One More Chance’”). Now as a fan of the late, great Notorious B.I.G., I couldn’t help but wonder if Killah’s referring to the radio-friendly remix to “One More Chance” or the NSFW original version from the “Ready to Die” album.
After Clem delivers a concise, catchy-as-hell hook (“Girl, you doin’ something beautiful / And you know just who you workin’ for”), he delves into both exotic and erotic territories, rapping about a Shibari Session of all things (that’s a type of Japanese rope bondage, in case you didn’t stop reading to do an online search (*wink wink*) of your own)! And boy, does he COMMIT to this song topic, describing in kinky, eyebrow-raising detail the sensations he makes his partner feel while she’s……y’know, tied up. It’s easily THE standout verse on this entire track, and one that’ll go down as one of the rare instances BDSM was expressed so frankly – and intimately – on a rap song.
Overall, I really enjoyed “Something Beautiful”! Its combination of mood-inducing production, unapologetically raunchy lyrics and gleefully sultry subject matter makes for a sonically stimulating, highly entertaining – and dare I say, beautiful – listening experience. Clem de la Creme is certainly an artist to keep on your radar, and here’s hoping we get some great music from him this year. In the meantime, “Something Beautiful” is worth adding to your bedroom and/or inner stripper playlists!
BBB RADIO 