Pusha T – “It’s Almost Dry” review

This is the 4th full-length album from Virginia emcee, songwriter & record executive Pusha T. Coming up as 1/2 of the duo Clipse alongside his older brother No Malice about 3 decades ago, their debut Lord Willin’ & their sophomore effort Hell Hath No Fury would go on to become some of the best of the 2000s & essentials in the coke rap scene. But following the brothers’ final album together ‘Til the Casket Drops, they would disband after No Malice became a born again Christian & resulted in Push signing to Kanye West’s very own Def Jam Recordings imprint G.O.O.D. Music as a solo act. He has since made himself home under Ye’s wing by dropping 3 solo efforts, with the last one being the Kanye-produced DAYTONA in the spring of 2018 & one of the greatest diss tracks of all-time “The Story of Adidon” merely days later. But after 4 long years, Push is returning with It’s Almost Dry.

“Brambleton” opens up the album with a cloudy yet rubbery instrumental from longtime collaborator Pharrell & lyrics addressing Pusha’s relationship with his former manager Geesy whereas “Let the Smokers Shine the Coups” has a more triumphant tone to it saying he’s just here to find the truth. Kanye tags along for “Dreamin’ of the Past” sampling “Jealous Guy” by Donny Hathaway to belittle their competition, but then JAY-Z comes into the picture for “Neck & Wrist” working in some experimental undertones talking about the rapstar life.

Meanwhile on “Just So You Remember”, we have Push reminding the whole world who they’re fucking with over a sample of “6 Day War” by Colonel Bagshot just before “Diet Coke” flips “Take the Time to Tell Her” by Jerry Butler taking jabs at those who be selling impure shit. KIDS SEE GHOSTS reunite 1 last time for “Rock n Roll” due to KiD CuDi & Kanye’s falling out talking about how this is their story over a sample of “1+1” by Beyoncé leading into the eerie “Call My Bluff” telling listeners that everything don’t need to be addressed.

“Scrape It Off the Top” has a more playful sound to it as Lil Uzi Vert helps Push spit them coke bars & “Hear Me Clearly” was one of my favorites off Nigo’s recent solo debut I Know Nigo, so I’m happy he put it on here. The penultimate track “Open Air” incorporates some flutes talking about slanging powder in an unenclosed space outdoors & “Labyrinth” ends the album with an organ-heavy Clipse reunion talking about all the people they pray for.

This has been one of my most anticipated albums of 2022 for a minute now & boy it did not disappoint. He continues to spit the gangsta rap we all know & love, except Kanye & Pharrell’s production is like yin & yang with the Chicago genius’ signature chipmunk soul sound that he came up on or the some of the pop rap undertones coming from some of the cuts that the Virginia visionary has to offer.

Score: 4.5/5

Kanye West – “DONDA 2” review

Kanye West is a 44 year old rapper, singer, songwriter, producer, businessman, fashion designer & supposed politician from Chicago, Illinois who everyone should be familiar with by now. You absolutely CAN’T deny the impact that Ye has had on hip hop within the past 18 years with albums like The College Dropout or My Beautiful Dark Twisted Fantasy, regardless of how one may feel about his polarizing public image. The last we heard from him was over the summer when he dropped DONDA which was much more consistent than it’s predecessor Jesus is King, but the 2 hour runtime was unnecessary. 6 months later, we’re now being treated to his 11th full-length outing executive produced by Future & exclusive to his Stem Player platform.

“True Love” kicks off the album with an instrumental kin to “Runaway” talking about how genuine romance shouldn’t be complicated with a surprisingly great hook from the late XXXTENTACION whereas “Broken Road” pondering what it means to find your soul on top of a doleful beat & Don Toliver’s hook on here is so goddamn catchy. “Get Lost” goes a cappella looking back on all the good & bad memories of his life so far with an excessive amount of auto-tune slathering his vocals just before “Too Easy” has this glitchy quality to the production discussing his current trials & tribulations.

Meanwhile on “Flowers”, we have Kanye throwing it back to the Graduation days in terms of sound encouraging to send him $100k rather than the titular object leading into “Security” asserting that nothing can get in the way of him being with his family & Digital Nas’ production here almost reminds me of Yeezus in a way. “We Did It Kid” hardly has any Ye presence at all & it sticks out like a sore thumb even though I genuinely enjoy it’s horn-heavy groove alongside Baby Keem & the Migos’ verses, but then the Future-assisted “Pablo” follows it up with a trap cut that encourages the listener to try to have fun except it falls flat on it’s face.

“Louie Bags” starts off great with it’s hypnotic beat & talking about boycotting LV after Virgil Abloh’s passing, then Jack Harlow’s verse comes in & ruins the whole vibe. Future returns for “Happy” & it’s WAY better than “Pablo” from Wheezy peppy production to the subject matter asking the world if they look like they’re doing fine to them. “Sci-Fi” then works in some string sections as Sean Leon joins Ye in addressing his divorce from The Hobbit, but that line where he said “When you lay down & I gave you the semen. I swear I heard God, the voice of Morgan Freeman” had me ROLLIN’ in laughter.

Following that, “Selfish” goes into a minimal yet cloudier direction talking about how selfishness & materialism can damage a relationship while the symphonic “Lord Lift Me Up” is a decent Vory solo cut asking for God to lift up his spirits. The song “Keep It Burning” with Future finds the 2 basically flipping the Talking Heads joint “Burning Down the House” & making a hard hitting trap banger out of it while the penultimate track “City of Gods” with Fivio Foreign goes into drill turf telling NY to go easy on them. “First Time in a Long Time” ends the album on a triumphant yet electronic note with Ye opening up about his faith in God & feelings stemming from his divorce but on the other hand, fucking Soulja Boy comes through flexing his success & kills it.

I really don’t know what else to say beyond that, it’s just so painfully average even by Kanye’s standards. There are some interesting song topics & production ideas without a doubt, but it’s all blatantly unfinished. If Ye does plan on updating the album once it’s actually done like Stem Player co-inventor Alex Klein was saying on Twitter, then I feel like it’ll be A LOT better than what we got here.

Score: 2.5/5

Kanye West – “DONDA” review

This is the 10th full-length album from Chicago rapper, singer, songwriter, producer, businessman, fashion designer & supposed politician Kanye West. What can be said now about this man that hasn’t been said already? Regardless of how you feel about his public image, you can’t deny his creativity nor the impact his discography has had on hip hop over the last 17 years. More specifically The College Dropout & My Beautiful Dark Twisted Fantasy. The last time we heard him in secular form was back in 2018 with ye, which in my opinion doesn’t get enough appreciation for detailing his struggles with bipolar disorder even to this day. Kanye later became a born-again Christian & went into gospel rap territory for his previous album Jesus is King in which the music was fine, but the mix was absolutely horrendous. But now after a embarrassing attempt at becoming president of the United States last fall & divorcing his Hobbit ex-wife, one can only go into DONDA expecting Ye to get a lot off his chest.

After the tedious “Donda Chant” intro, the first song “Jail” is a rock-tinged kickstarter with The Throne returning saying God’s gonna post their bail with co-production from Mike Dean alongside Dem Jointz & 88-Keys whereas “God Breathed” has assisted by E*Vax some choir vocals hanging in the back encouraging the listener to put their faith in the higher power. Playboi Carti & Fivio Foreign tag along for the trap-tinged “Off the Grid” co-produced by with 30 Roc proclaiming they did everything for the crib just before the Lil Baby-assisted “Hurricane” brings in some organs & snares with co-production from DJ Khalil & Ronny J to tell God to hold them close.

Meanwhile on “Praise God”, we have Baby Keem & Travis Scott joining forces to say they’re gonna praise their way out the grave helping work in an organ & choir vocals leading into “Jonah” with Lil Durk & Vory having some hypnotizing production as well as lyrics about loneliness. “Ok Ok” is an atmospheric cut co-produced with Boi-1da linking up with Lil Yachty & Rooga to call out those who’ve betrayed them, but then Ye & Carti pay homage to Junya Watanabe on the organ-bass infused “Junya” assisted by Digital Nas.

“Believe What I Say” does a fine job at sampling the iconic Lauryn Hill joint “Doo-Wop (That Thing)” telling the listener not to let the lifestyle drag you down whereas “24” brings back in some organs to say God’s not finished. “Remote Control” with Young Thug satirizes society these days with an ambient backdrop & snares whereas “Moon” is the greatest interlude of the year hands down, with Don Toliver & KiD CuDi hitting every note perfectly as the guitars that’re wailing behind them.

The way “Heaven & Hell” samples Drum Broker’s “Arena” is really cool with Ye standing up to to the system & after the titular interlude co-produced by BoogzDaBeast, “Keep My Spirit Alive” with Hall ‘N Nash finds the trio saying “you can take it all with the Lord on my side” over a cloudy instrumental. Jay Electronica & The LOX come in for the gorgeous “Jesus Lord” co-produced by Swizz Beatz & Gesaffelstein wanting to know someone who needs God, but then “New Again” sounds like a throwback to the Graduation days production-wise talking about being born again.

Tell the Vision” from the latest posthumous Pop Smoke album Faith feels out of place given that Ye has no presence on this version, but “Lord I Need You” makes up for it with it’s pillowy beat co-produced by Wheezy as Ye asks God to wrap his arms around him whereas the Roddy Ricch-assisted “Pure Souls” fuses organs with bass & handclaps to say “The truth is only what you get away with”.

The penultimate track “Come to Life” is an luxurious ballad pondering if you’ve ever wished you had another life & finally, “No Child Left Behind” ends the album with a straight up gospel ballad saying God has done miracles on him. We are then treated to alternate versions of “Jail”, “Ok Ok”, “Junya” & “Jesus Lord” as bonus cuts.

It should really go without saying that DONDA is what Jesus is King should’ve been & it’s a respectable tribute to Ye’s mom. There are a tad bit of filler cuts running at 27 joints & nearly 2 hours, but the mix sounds so much better in comparison to the last album.

Score: 4/5