11/26/2022 0 Comments Jcole wet dreamz instrumentalHe gets more than a little ahead of himself, though, claiming to be better than Slick Rick, LL Cool J, Rakim, and Big Daddy Kane on “January 28th”. Tropez” reimagines Mobb Deep’s “Give Up the Goods (Just Step)” as sedate, orchestral R&B.Ģ014 Forest Hills Drive is Cole planting himself in the pantheon of rap greats, a volley to the spike of Kendrick Lamar’s “Control” verse. “Wet Dreamz” is an adept “Impeach the President” flip, and “St. The production here is never less than delightful Cole’s own beats run coyly referential samples through milky instrumental embellishments. Tropez” emote through his gruff singing voice. “G.O.M.D.”, “Fire Squad”, and “A Tale of 2 Citiez” all flash Cole’s technical excellence, while “Intro”, “Apparently”, and “St. “03’ Adolescence” flips the classic rags-to-riches narrative inside out as Cole starts to reminisce about how hard he had it growing up only to get a chin check from a friend whose future isn’t half as bright. Still, ceding an entire hour to a rapper who works best in short bursts works better here than anyone could’ve expected. “No Role Modelz” parlays a suspicion about a hookup being a golddigger into a tirade about black women lacking respectable public figures, crudely suggesting that “she’s shallow but the pussy deep.” (For all the talk of Cole’s enlightenment he’s a perfect brute when it comes to women, and “No Role Modelz” is something of a tacit admission.) 2014 Forest Hills Drive often plays at a depth it never delivers. It’s relatable but hardly the kind of story you want to hear more than once. “Wet Dreamz” recounts his first time having sex in lurid detail, from lying to a girl about his prowess to looking at porn for pointers to finding out the girl’s been lying, too. The laughable wordplay fails of mixtapes albums past (“My money like a senior, watch it graduate,” “Cole heating up like that leftover lasagna”) are thankfully absent, but Cole isn’t yet sharp enough of a storyteller to carry a full album on his own. Bold move, and where it floats, it soars, but it flops gloriously when it doesn’t. It’s a block of Cole raps and Cole hooks served mostly over Cole beats. In its quest to canonize Cole, 2014 Forest Hills Drive eschews both singles and guests. He works well with guests his collaborations with Drake, Missy Elliott, and TLC are highlights in his growing body of work, and he gets along so well with Kendrick Lamar that the duo is rumored to have clandestinely recorded an EP together. He’s great at synthesizing everyman relationship woes into terse pop nuggets. He makes passable albums with memorable singles. Cole is a workmanlike MC, a good-natured populist grappling with the ridiculousness of sudden celebrity. With 2014, Cole is certain he’s made his classic he’ll tell you as much partway through the 15-minute credit roll “Note to Self”, which apes Kanye West’s joyous, candid College Dropoutcloser “Last Call”. The tracklist swaps s’s for z’s (“Wet Dreamz”, “A Tale of 2 Citiez”, “Love Yourz”) like 2pac’s All Eyez on Me. The cover is shot at his childhood home as Eminem did on the Marshall Mathers LP. For his third record, 2014 Forest Hills Drive, he channels the nostalgic self-mythology of Jay-Z’s Black Album. Cole is aware of the structure and pace of good rap albums and anxious to apply them to his own music. Cole is a student of hip-hop, the kind who moves to New York to stalk Jay-Z for an opportunity to rap for him, peppers his lyrics with nods to the greats, and pens an apology to Nas when his biggest single comes across as too poppy.
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