True fact: somewhere between 2013 and 2015, I had some grandiose plans for the blog. I’m talking article ideas, new concepts for series, different ideas for opening this site up to create the discussion place I’ve always wanted this to be. To ease myself into this role, I was going to force myself into shorter stunts, so as to broaden my horizons (and yours). One of those short-term stunts was to spend a month (later changed to a week, sadly) writing about nothing but female emcees, as they are severely underrepresented on this site, and in hip hop in general. I began taking notes on albums, but the idea was backburnered in favor of real life shit. This is all to say that today’s post, about Brooklyn’s own Jean Grae and her second full-length album This Week, is something I wrote several years ago, although this opening paragraph is brand new. So if there are references to President Obama or to the finale of Lost, just keep this in mind. Also, fuck Donald Trump. Ah, shit, that last sentence doesn't prove this paragraph is new at all: I've always hated Trump. Oh well.
As I
mentioned, This Week is Tsidi “Jean Grae” Ibrahim’s second full-length project,
following her debut Attack of the Attacking Things (still a pretty great title)
and The Bootleg of the Bootleg EP. At this point, the artist formerly known as
What? What? found herself signed to Babygrande Records, which has distributed
projects from the likes of Jedi Mind Tricks, Canibus, and various Wu-Tang Clan
b-teamers, which meant a national stage on which she could talk her shit again.
This Week was
released nearly fourteen years ago as of this writing, and while a lot has
changed in Jean Grae’s life (she’s become recently engaged to rapper-slash-producer Quelle Chris), her
overall demeanor has remained the same: not necessarily that of a woman trying
to hold her own in a male-dominated field, but that of a fellow rapper who commands
respect. Featuring production from 9th Wonder, the duo Sid Roams
(who I only know from their work with the late Prodigy of Mobb Deep), and other
people who I couldn’t place if they had created the fucking music in my own
house, This Week quickly found itself swept away in critical acclaim and nearly
zero sales. Because that’s what happens on Babygrande Records: you get the
prestige, but not the plaques.
1. INTRO
(FEAT. RUDDY ROCK & TRACEY MOORE)
Yes, that
clever track title signifies that this is a rap album intro, and yes, there
happens to be some bullshit shouting that attempts to force the listener into acknowledging
our host's existence, which doesn't really make sense, since you would have to
actually listen to This Week in order to hear the introduction, which means you
already know who Jean Grae is, but whatever, she actually spits a verse on
here, and while some of it comes across as a bit too defensive, overall she
sounds as potent as ever. J. Cardim's
instrumental approaches Jay-Z rap album intro territory, which was a strange
creative choice, but at least our host sounds good over it. Not bad.
2. A-ALIKES
I'm not
going to lie: my mind drifted the moment I realized that Jean Grae's hook has
about three times as many words as absolutely necessary. The Sid Roams beat was alright, and it's not
like our host sounds bad over it or anything, but there is very little on
“A-Alikes” to recommend: it's merely a technically competent rap song with no
spirit in it. Everything on here is very
mechanical, chugging along the track as Grae checks off boxes on her quest to
create the perfect song. There's no
heart here.
3. CUERVO
LOCO (SKIT)
…
4. GOING
CRAZY / SKIT
Possibly the
most accessible Jean Grae song I’ve reviewed to date. Over the course of three
verses, our host describes how an irrational fear of being fulfilled
exacerbates into full-blown paranoia, complete with violent outbursts that seem
excessive but play right into what she’s trying to do here. References to the
Geto Boys classic “Mind Playing Tricks”, an obvious inspiration, and Rockwell’s
“Somebody’s Watching Me” punctuate her thought process, but Grae seems more
informed by Fight Club, specifically the plight of the anonymous narrator (played
by Edward Norton in the film) just before he starts, well, fighting in a club.
The Joey Chavez beat is cheesy, but it works in contrast to our host’s wrecked
frame of mind, so it all comes together nicely. The audio track ends with a
skit that is marked as separate from “Going Crazy” on the back cover of the
physical release.
5. STYLE
WARS (FEAT. BLOCK MCCLOUD)
If the intro
was built atop a beat that Jay-Z would rhyme to in an alternate timeline, then
Will Tell’s work behind the boards for “Style Wars” approximates something
latter-day Fat Joe would purchase for use. Jean’s three verses are so
chock-full of shit-talk that you won’t even realize this is supposed to be her
club song until Block McCloud’s unnecessary hook kicks in. If Jean Grae’s
intent was to record a song that could easily be lost in the shuffle of other, similarly
tactless rap tracks, then she succeeded wildly. This was alright, but it’s
wasn’t real.
6. NOT LIKE
ME
Jean Grae
showcases two facets of her hip hop persona on “Not Like Me”: the sing-songy
object of affection that performs the hook, and the no-nonsense chick that
believes she might be your perfect match, but also raps. I think most hip hop
heads still reading this review would appreciate a significant other that could
you could argue the respective merits of Illmatic and Reasonable Doubt with,
unless you’re just here for the random pop culture references, anyway. This
wasn’t bad at all, even if it lies in well-tread territory song-wise.
7. SUPA LUV
9th Wonder’s
instrumental is a glorious mess, a cacophony of sounds that beautifully clash
with one another even though they’re all sampled from the same source material.
Unfortunately, there’s a reason why I’ve used up so many words on the beat:
Jean’s lyrics are all instantly forgettable, and not just because a good chunk
of them are buried underneath the music. Whoever pitched this beat higher than
the vocals fucked up, no question, but it’s debatable that our host’s words
were even worth hearing in the first place. Especially when placed after the
similarly-themed “Not Like Me”. Groan.
8. GIVE IT
UP
The unofficial
narrative of This Week appears to be a challenge to bury Jean Grae’s bars
within as many instrumentals as possible. “Give It Up” is no different: the
listener will quickly lose the plot (another song about Jean Grae trying to
hook up with the possible man of her dreams) within the loud-as-shit Shan
Boogie beat that ends with an annoying-as-fuck dialogue sample that asks the
listener if they would like a slice of cake, among other things. The best I can
write about this entire song is, “Huh?”
9. WHATEVER
The best
track on This Week also happens to be its shortest (if one doesn’t count the
intro as a song in its own right). Over a funky Belief modernized
Blaxploitation soundtrack, Jean Grae spits a single verse (and a hook) entirely
focused on how much of a badass she believes herself to be, and it’s mighty
convincing. I’ve always felt that our host is at her best when she’s in
take-no-prisoners mode, but she can only be as good as her musical backing
(like all rappers, duh): “Whatever” presents a cock and confident Jean Grae
that could potentially take over the rap game if she so chose. Nice!
10. THE WALL
First thing
that ran through my mind when I first heard “The Wall” was, “Fake-ass Dr.
Dre-esque beat”. And that critique holds true today: LT Moe instrumental sounds
like something the good Doctor would have given to Obie Trice just to shut him
up. That said, fake-ass Dr.Dre-esque beats aren’t all bad, and the one present
on here is pretty decent. Jean at least puts it to good use, aside from the
unnecessary skit at the halfway point that fucks up all of her momentum. True
to what she promises on the hook, our host says absolutely nothing of
significance during her verses, controlling her message by not revealing
anything at all. Which makes this track okay but hollow, as Grae remains a
cypher.
11. BEFORE
THE SPOT (SKIT)
…
12. YOU
DON’T WANT IT
Midi Mafia’s
instrumental sounds like an early Talib Kweli attempt at mainstream acceptance,
and Jean Grae’s usage is just as successful, which is to say, it isn’t. At all.
The hook makes a strained effort to bait the listener into shouting along, but
our host’s actual bars showcase how a mastery of boasts-n-bullshit doesn’t
automatically generate empathy or engagement from the audience. This was just a
misfire all around.
13. WATCH ME
Weird. I’m
pretty sure this track just played, but I couldn’t tell you what it sounded
like even if you threatened my kids. Not a great sign.
14. P.S.
Jean Grae
builds a song using the “each verse is a recited letter” trope that Eminem and
Nas have previously utilized with entirely different and successful results.
Our host spills some carefully selected personal details that may all be made
the fuck up, and even uses her third verse to read a letter that was aimed at
her. Everything is on a fairly positive bent, up to and including the outro
that ends This Week as a whole. The J. Cardim beat is okay, and our host’s bars
all sound genuine, if not entirely heartfelt (keeping your audience at arm’s
length tends to do that). Not a bad way to end things, I suppose.
The final
two tracks on This Week are considered to be bonuses.
15. FYRE
BLAZER
Meh.
16. DON’T
RUSH ME
9th’s
instrumental bangs like nothing else does on This Week, and the fact that
there’s no chorus, just three verses, is a plus in my book. Of course, it seems
that there was always supposed to be a hook: perhaps the song was rushed out to
meet This Week’s release date. Regardless, Jean Grae rocks the shit out of this
one, so even though “Don’t Rush Me” may be incomplete, at least it sounds
really fucking great.
THE LAST
WORD: This Week suffers from some bloat:
even though it runs for roughly an hour, it feels like twice the length, as the
songs that truly do not work seem to take forrreeevvveeerrr to creep past. Jean
Grae’s lyrics are just fine: she had honed her boasts-n-bullshit well with her
previous projects and her numerous cameos, so she wrote the songs she wanted to
write. What killed This Week for me was the musical backing, for the most part:
while there are some great fucking tracks on here (“Whatever” and “Don’t Rush
Me” are two standouts), what you’ll remember the most are the moments where the
beats and the lyrics clash, which, unfortunately, happen more often than not. I
still believe Jean Grae is deserving of a wider audience (and all of the financial
compensation that would come with), but if you two haven’t bailed on this post
yet and are interested in hearing more, I would recommend looking her up on
Spotify first. Here’s hoping any future projects of hers I write about solve
the production conundrum.
-Max
RELATED
POSTS:
I’ve written
about Jean Grae before. Here’s proof.
In all honesty I can't comment on this album or Jean Grae in general but I would like to comment just so you have some more. You deserve comments for the work you put in reviewing these albums especially when you keep up your schedule of reviewing one a day for a month. I'd hate for you to give up due to a lack of comments demotivating you.
ReplyDeleteFor what it's worth, I think your plans sounded pretty good and showcasing female emcees is still a worthwhile cause. Here's hoping you might do a review of Tairrie B., Doggy's Angels or H.W.A. (for I'd be sure reading a review of their work from you would be comedy gold) some time.
Jean Grae can spit for sure but have never bothered with a whole album. Here's hoping one day we can find it
ReplyDeleteThe Jeanius album she made with 9th Wonder is very good in my opinion.
DeleteThis album was a letdown after "Attacking Things", which has spent so much time on my turntable I should be charging it rent. The follow-up "Jeanius" is far, far better.
ReplyDelete