Reader Review: Jay Rock - 90059 (September 11, 2015)

(Welcome back, you two! I’m running dangerously low on Reader Reviews, so if you have an idea you wish to pitch to me (and I do mean “pitch” – as in, don’t send me a full write-up that I haven’t asked you for, why waste anybody’s time), shoot me a message at either the e-mail address on the right or on Twitter (@hhid_Max). For today’s submission, frequent contributor T. Karras writes about TDE stalwart (and now Grammy-winning artist) Jay Rock’s sophomore effort, 90059. Leave your thoughts for him below.)

By now everybody should know the Black Hippy crew. Sure, there are more artists signed to Top Dawg Entertainment than just the hip hop supergroup comprised of rappers Kendrick Lamar, Ab-Soul, ScHoolboy Q, and Jay Rock, but they composed the core of the label when it first started, long before K-Dot became one of the biggest and most celebrated superstars in the world. But what many folks forget is that Jay Rock was originally pushed as TDE’s star attraction, a Watts-based gangsta rapper who secured a distribution deal with Warner Bros. Records.

In 2009, I heard the first taste of what would become TDE's dominance of FM radio, a Jay Rock track called "All My Life (In The Ghetto)" that wouldn't see an official release until 2011, when his debut full-length Follow Me Home hit store shelves both physical and virtual. It was one of four projects TDE released that year to prove to the industry that they meant business, and the tactic worked, as today everyone salivates at the very thought of a new project from Top Dawg and the gang.

Inevitably, TDE shifted its focus to Kendrick Lamar and ScHoolboy Q as their impact on hip hop was much more sizeable than that of Jay Rock, and the man found himself shuffled to the back of the line. K-Dot and Q released projects that sounded very distinct from one another, but it was clear that both artists had a shared goal: evolving California-based rap music away from its overtly-gangsta sound, but on their own terms, and without ignoring the heavy influence the likes of N.W.A., Snoop Dogg, DJ Quik, Too $hort, and the like have on the industry to this day.  

Thankfully, TDE never forgot about the man they originally thought would become their breakout

success, and on September 11th, 2015, they released Rock’s sophomore project, 90059, named after the zip code of the Watts neighborhood that he represents to the fullest. This served as his do-or-die moment, as Jay Rock definitely had something to prove to both his label bosses and the discerning hip hop fan, and he needed to show everyone just why he mattered to the genre and why he was such an important component of the Black Hippy quartet.

Rock would ultimately attain his goal with the release of his third album Redemption, but 90059 is a curious beast, as the impression I get online is that it isn’t very well-liked. In fact, while the critics seemed to enjoy it enough, a lot of hip hop heads seem to hate this album with a passion. So today I'm here to discuss why Jay Rock's 90059 is worthy of your attention.

Here we go…

1. NECESSARY

Over something resembling a mix of trap and traditional hip hop, Jay Rock spits some bars that are

honestly fire, showcasing his versatility as an artist while allowing the listener to walk around in his gangsta shoes. The urgency throughout the song is a nice touch: although it was unnecessary, at least it proves that there are still rappers out there who care about the small details.

2. EASY BAKE (FEAT. KENDRICK LAMAR & SZA)

Over the same sample that rocked Jadakiss' "None of Y'all Betta", Jay Rock manages to provide some turn-up music that may turn off some with its unorthodox evolving drum pattern throughout that enhances the overall sensory feeling of the track. The key to this song's success is Jay Rock's delivery, who manages to combine catchy lines with detailed storytelling which is so bleak, you’re practically reliving the hard times and pain with him. TDE labelmate (and Pulitzer Prize-winning mascot) Kendrick Lamar provides a few lines here and there, but doesn’t really contribute much to the song overall. Toward the end, the beat shifts into a slower tempo one and guest SZA provides some beautiful vocals that justify her TDE contract, Rock adjusts his delivery accordingly.

3. GUMBO

Feels like an outtake from Follow Me Home, except updated for the modern hip hop audience. Between the two projects, it’s obvious that Jay Rock has evolved as a rapper: his witty punchlines and effortless flow almost manage to save this song, but he can’t overcome the J. LBS. instrumental, which I like, but don’t “like”-like, you know?

4. WANNA RIDE (FEAT. ISAIAH RASHAD)

One of the most experimental cuts on 90059, and I say that in a "good news/bad news" way. While I appreciated the beat, I didn’t like how the drums overpower everything and how guest Isaiah Rashad screams over it all like a punk rocker with a voice that’s shot. Rock's lyrics are simply not up to par here, either. Maybe this one should have been left on the cutting room floor.

5. THE WAYS (FEAT. SIR)

Over a modern guitar laced hip-hop instrumental. Jay Rock kicks back to gear with descriptive lyrics that feel as impactful as the taste of a Tootsie Roll on your tongue: it's as if he's channeling the energy of all of Watts through song. The only fault with this song is that Jay Rock sort of loses track of the narrative and starts shouting like he's Lil' Jon. Well, that, and it could of been a little bit longer, I suppose

6. TELEGRAM (GOING KRAZY) (FEAT. LANCE SKIIIWALKER)

Over a To Pimp a Butterfly-esque beat, Jay Rock roars back with clear-cut and concise lyrics that feel as impactful as the taste of a Tootsie Roll on your tongue: it’s as though he were channeling all of Watts in the booth. Guest singer Lance Skiiiwalker's contribution may be tuneless, but it's beautiful in its own way. “Telegram (Going Krazy)” will remind listeners why they even care about Jay Rock in the first place.

7. 90059 (FEAT. LANCE SKIIIWALKER)

This title track features Jay Rock screaming as though he were performing on a Madvillian track (which this, admittedly, does sound like). I admire what he was trying to do here, describing the dangers of Watts through a combination of religious and pop culture references alongside some witty lines and the Tae Beast instrumental, which is fairly polarizing with its horror flick stings and dramatic drum beat. It’s kind of like hearing nails on a chalkboard while classical music plays in the background. Some may enjoy it, and some of you won’t, but I don’t really have an opinion either way.

8. VICE CITY (FEAT. KENDRICK LAMAR, SCHOOLBOY Q, & AB-SOUL)

The feature attraction that everybody has been waiting for. The hypnotic deadmau5-sampling Cardo and Yung Exclusive instrumental lays down the best foundation for a Black Hippy showcase. Kendrick Lamar kicks off the track discussing the ups and downs of fame (he is the most famous of the quartet, after all), providing a technically-proficient verse that is braggadocios and conscious all at once. Our host bats second with bars that describe the unusual positives of life in Watts, but while he does a decent job, it feels like he was trying too hard here. Ab-Soul delivers a verse that accurately describes vice and religion while weaving in bravado, and ScHoolboy Q finishes things up with the best verse of his entire career (don’t know if I agree here), his witty lines and aggressive delivery blowing everyone else out of the water (especially with his extra bars present in the “Vice City” video). K-Dot also lends his boys a pretty good chorus, in case you forgot he also contributed that.

9. FLY ON THE WALL (FEAT. BUSTA RHYMES & MACY GRAY)

This soulful DAE ONE and Aayhasis production gives both Jay Rock and the audience a chance to breathe as he reminiscences about his dead homies. Serving as a tribute of sorts to his fans who had been following him since his mixtape days, his performance on here is fantastic: you can truly feel his pain on this track. As for the guest appearances, well, it was kind of nice to hear Busta Rhymes talk about how much he loves Jay Rock and how proud he is to see the man succeed, but it was otherwise unnecessary, as it plays like a blurb that would appear on the back of Rock’s autobiography. We don’t want more features, we want more collaborations.

10. MONEY TREES DEUCE (FEAT. LANCE SKIIIWALKER)

Over a Flippa and Jproof instrumental that sounds like a crime noir film set in the 1930’s, Jay Rock provides a hell of a sequel to Kendrick Lamar’s original track (which also featured Rock), speaking on the same topic (money, clearly) but in a much more modern and ambitious manner. K-Dot may be missing on here, but our host ramps up the urgency to make up for it. “Money Trees Deuce” is a banging track that should be played at every single backyard barbecue. Seriously, I cannot express enough how much I love this track. (For what it’s worth, I agree – this is one of Jay Rock’s very best songs, end of sentence.)

11. THE MESSAGE

Jay Rock closes out his love letter to Watts with an urgent song that acts as his attempt to prove all of his doubters wrong, closing 90059 on a high note. The J. LBS. and Sounwave instrumental is both triumphant and melodic, and Rock gives the listener the feeling that we’ll be hearing from him for quite some time.

FINAL THOUGHTS: Okay, maybe it isn’t perfect, but 90059 is certainly worthy of praise. Jay Rock has only sharpened his skills since Follow Me Home, and even though there are better albums out there, it’s clear that the man put a lot of thought into his performance and technique on here. He proves that he doesn’t need multiple guest stars or twenty-something tracks in order to beat the sophomore slump. 90059 marks the evolution of an artist that demands your attention.

BUY OR BURN? It doesn't quite live up to all of the hype, but I'd recommend that you buy it anyway because it does contain some bangers, and the concept was put together with thought and care.

BEST TRACKS? "Easy Bake"; "Telegram (Going Krazy)"; "Vice City"; "Money Trees Deuce"; "The Message"

-T. Karras

(Questions? Concerns? Stuff? Leave your thoughts below. That’s what the space is there for.)