Yeah, really cheesy title. I know, but it got you to read this so maybe you're cheesy. Or maybe I'm just talking smack to my non-existent following. Either way, read on.
I realize I haven't addressed the Penn State scandal, but I don't know what to say about it that hasn't already been said. It's disturbing, disgusting, and disappointing, but no amount of commentary is going to make it better. I'd rather just let the legal proceedings play out, hope those scumbags get what they deserve, and let the talking heads worry about how to spin it.
That being said, I want to talk music, because as you may already know, three great albums are out: Ambition by Wale, Take Care by Drake and Camp by Childish Gambino. Unfortunately for Drake, his album leaked a couple of weeks early after he initially pushed the drop date back from October 24th to November 15th. As for Childish, he has allowed NPR to stream his entire album until the November 15th release date, which is pure awesome. Wale's album dropped November 1st and has been in my deck constantly since.
These are three of my favorite artists, so having their new CDs drop (or leak) within a week of each other made me happier than the first time I saw Kelly Kapowski (okay, that was actually a monumental day in my life, so I guess this kind of pales in comparison, but you get the idea).
I'm honestly too busy to be doing this right now (I consider this a productive form of procrastination), but I'm at least going to give you a rundown of my three favorite songs from Wale's "Ambition." I'll try to come back with a review of Drake and Gambino when the semester is over (in other words, a month late, after you've already heard and drawn conclusions about the CDs, ha...).
That being said, here goes nothin'...
I'm really impressed with Wale's second album. While the track list is headlined by "Lotus Flower Bomb" featuring Miguel and "Focused" featuring Kid Cudi (the two released singles from the LP), the rest of the album is arguably more impressive. The album incorporates aspects of Wale's road to success in conjunction with the club bangers and philosophical tracks for which he's well-known.
The opening track, "Don't Hold The Applause," incorporates a smooth piano beat, vibrant kick drums and an uplifting vocal refrain as a background to Wale's buttery flow. Lyrically, he touches on his accomplishments, including his GQ Man of the Year award for being a "gangsta killer" (a killer of the gangster stigma that has surrounded hip-hop for so long), but also strides he's taken personally such as letting his "wisdom increase" and counting his blessings, realizing fame and fortune shouldn't to be taken for granted--a theme that prevails throughout the album. This track emanates the notion of "ambition" perfectly, insisting that hard work should be and will be rewarded, one just needs to have a little patience.
My second favorite installation on the album is the title track, "Ambition," featuring Meek Mill and Rick Ross. It's hip-hop at its finest, in my opinion. I love the concept behind this because new rap has strayed so far from rap's original "ambition," if you will. The inclusion of Meek Mill, an underground rapper who hasn't strayed from his roots, epitomizes this. The beat sets the mood, slow and methodical like the rappers' journeys into fame. The almost "music-box" like piano blends beautifully with the enigmatic sound effects and faint, but noticeable, strings that set the sound stage as Wale delivers a few slam poetry type bars.
Meek Mill takes the first verse, charting his route to fame, documenting his prior struggles as well as those he still goes through trying to make it from underground to the mainstream. Wale's chorus follows, ringing through your speakers. It's not a catchy, "look at me" hook; it just states the theme of the track simply and poetically. Rick Ross come in next, and while I was skeptical, his voice works perfectly with the track. It's impressive to hear him take a step back from Maybachs and yachts to deliver a soulful verse. After Ross, the beat breaks into a soulful piano riff, dismissing the kick drums and strings as Wale takes the microphone. As his verse builds, so does the beat, bringing back the previous aspects as Wale delivers a metaphor-filled philosophical verse.
Needless to say, I'm pretty impressed with this track. Give it a listen.
The last track I want to share is "DC or Nothing." I just love the mood of this track. It's another string-featured beat, incorporating the violin and electric guitar in addition to a perfectly synthesized choral riff. The opening violin riff lends a nostalgic feels and is accompanied by the choral chant as well as Wale's seemingly signature poetic intro.
As the beat drops, Wale begins his flow, escorted by the electric guitar. The song is more or less a tribute to DC, so while I'm not sure I'm the target audience, the special sentiment toward his hometown is certainly not lost by me. He addresses his position as DC's rap ambassador while reminiscing on the issues, both personal and political, he endured while growing up in the nation's capital.
I can't for the life of me figure out who sings the chorus (and by "for the life of me" I mean I don't want to go to my car and get the album cover), but I like it. It sounds like Pink, but she would surely be featured, so I'm clueless. Regardless, her/his voice sounds almost like a blend of the violin and guitar riffs, meshing perfectly with the feel of the track.
The fact Wale includes an intro, three verses, all equally passionate, shows his not only his love for his city, but his love for the personal that it made him. Once again, this song complies perfectly with the theme of Ambit
Alright, that's all I've got for now. Like I said, I'll try to come back with a "Take Care" and "Camp" review in the next couple of weeks. In the meantime, I'm gonna get my ass kicked by my BCS paper and final exams. Word.
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