Success and lavish living are two of hip-hop’s obsessions, created during the genre’s inception due to living in poverty. Many artists have created music that attempts to describe that which they are either trying to obtain or already have it in abundance. Most of the time, it comes across as mere lip service. We’re told that they’re bosses by repeatedly being beaten over the head with rap interjections, but we never get the feeling that it’s true. Real bosses don’t tell you, they show you. Combined with the fact that most rappers’ definition of being a boss – or being successful – involves women, cars, and clothes – were left with a hollow feeling when the song ends, wondering about the values of material items in our society instead of true success.
Payroll Giovanni and Cardo’s album Big Bossin Vol. 1 may have been the first instance in memory that portrayed the boss life as something more than what can be bought. It was more of a mindset than an extension of the wallet. The album’s cult status showed that people were hungry for this brand of music, so the pair have dropped a bigger, juicier project with Big Bossin Vol. 2 and it’s everything you can imagine and more.
What separates the two projects is the sheer scope and feeling of adventure. Whereas the first project was an initial toe-dip into the life, this project is submerged in it. Its aesthetic drips through each lovingly crafted song, practically oozing with swagger and panache. It starts with “Rapped My Way,” a seductive female voice relaying Cardo’s infamous beat tag. From there, saxophones introduce the luscious life of discovery that comes with untold riches. Payroll’s machine-like flow acts as the supplement to the smooth jazz-like instrumental, showcasing the first of many classics in the making.
Many tracks dance on the line of being jazz with smooth instrumentals that evoke classic R & B. Payroll continues to bring his all on the project throughout and paints a picture of what’s really important to him – both material and nonmaterial. In doing this, the project transcends its title that may seem initially uninspired – it becomes a portrait of what true bosses find important in their hectic lives.
On project standout “Deep,” the 80’s and Jazz meet at a crossroads, creating a wholly unique experience. Payroll’s deeply troubling lines (“Every time I leave the crib a nigga strapped with a Glock/ Broke nigga talk stupid get slapped with a knot”) are delivered with some serious emotion that reveals the pitfalls of Boss life and what comes with it.
Payroll and Cardo have created another strong entry into the Big Bossin series. Through smooth, seductive instrumentals we find the essence of what it truly means to be a boss in 2018. By painting a vivid picture and offering some words of encouragement to live by, the pair has cemented another classic into their already noteworthy discography.
Here’s The Verdict on Joey Purp’s ‘QUARTERTHING”
Joey Purp’s a member of the SaveMoney crew – a Chicago based collective featuring the likes of Chance The Rapper and Vic Mensa amongst other eclectic musicians – and brings a striking new element to Chicago’s music scene. When he released iiiDrops in 2016, although his sophomore project, the world was given a proper introduction into his world of street adjacent raps. He showed his ability to be introspective over a wide selection and variety of ethereal beats. His new project QUARTERTHING continues this creative selectiveness with a newfound commitment to innovation.
Over the course of its runtime, the unique cadence and flow he utilizes to channel excitement constantly grows and evolves. On tracks like “Elastic” and “Godbody Pt. 2,” Purp’s tenacity shines through the refracted lens of eclectic beat selection. Confidence is the main currency being traded on QUARTERTHING. “2012,” the album’s most nostalgic cut, even retains some of this aesthetic that helps to build immersion.
Although much of it the project is powerful, there’s a glaring misstep. “Bag Talk” has a yelling problem; one that the album tries its best to mask throughout with loud beats. But “Bag Talk” peels the veil back to showcase just how empty it sounds without the extra bells and whistles.
Nevertheless, QUARTERTHING is a powerful project that continues to showcase some serious growth for Purp. He’s proving himself to not only be one of SaveMoney’s best, but Chicago’s as well.
Review: Kash Doll’s “Ice Me Out”
Kash Doll’s latest release “Ice Me Out” is the signal of a new age for the Detroit paragon. Her raps have been traditionally delivered in luxe instrumentals, with powerful punchlines being delivered in louder tones. She’s like a female Meek Mill, only more cunning and intimate while keeping the garish tone. “Ice Me Out” changes the perception surrounding her rhymes tremendously. It’s a bold change that works out in the long run.
When Kash Doll steps into the booth, you know you’re going to get something fiery. Just listen to “Check,” one of her previous releases from a few months ago, and you’ll find the energy that she raps with to be mesmerizing. But “Ice Me Out” travels in the opposite direction from the sentiment made evident in the first release. Here, Kash Doll is much quieter, more intimate than ever before. Also, the instrumental she chooses is barebones, enabling her tantalizing lyricism to stand out in bold, exciting ways.
If you’re open to change, than “Ice Me Out” is the Kash Doll track for you. It’s much different than her past releases and gives her a platform to build her aesthetic from. It’ll be interesting to see how it grows from here.
Listen to “Ice Me Out” below.
Bandgang’s ‘In Too Deep’ is a hard-hitting opus
Bandgang’s latest project In Too Deep is the kind of hard hitting street record that everyone needs to hear. Street albums often rotate in and out of importance when the next one comes. Think about any Gucci Mane project ever. Once the next one comes, they’re often left to reside in nothingness until they become unpopular again. But not this time – In Too Deep is hard, brutal, and sits with you long after it goes off. It’s the kind of record that’ll keep you up at night when thinking about its dark intricacies. I can’t say too many other albums have had me in a similar manner.
In Too Deep is a long collection of street raps – nothing more, nothing less. These bangers come in three shapes – fast, Detroit-level knockers, slower, more thought-out hits, and plodding, introspective tunes. All three hit equally as hard. “Come From That” moves at a frighteningly fast pace with bombastic production that makes it a treat to get through. “At My Door” is a little bit slower, but equally as hard. The magnetic nature of the songwriting make each cut a treat to get through.
As far as weak spots, there aren’t any. The project’s power comes in its consistency, so, while no two songs sound the same, they carry a similar energy that makes them equally listenable. This is some of Bandgang’s finest work and you can hear the time that they spent perfecting each rime from the outside. Since it sticks with you when you turn it off, you’ll be more than excited to queue it up again. It’s the gift that keeps on giving. In Too Deep is exactly what you need to survive in these streets.