A$AP Rocky - At.Long.Last.A$AP ALBUM REVIEW

Patience is key. A saying that I have to remind myself of when it comes to these new age rappers. It takes time for most of them to develop and perfect their craft. So I need to pretty much be patient with them. I did that with A$AP Rocky and I could honestly say it worked out. Nobody has truly grown on me over the course of these last few years more. Not just as an artist but as a trendsetter and a person who dares to be different. I definitely see him as one of the leading faces of this hip hop generation. One of my biggest anticipations of the year is now here. This is his sophomore album At.Long.Last.A$AP. Although I was quietly anticipating this, I really didn't have any expectations. Besides what Rocky usually gives. I just thought it would be a continuation of his 2013 debut Long.Live.A$AP. Which I did like after it grew on me. But I could honestly say I am quite shocked here. This album was way better than I could have ever anticipated. This is in large part due to the outstanding production. Rocky's music is known for having that psychedelic, chopped and screwed Houston inspired sound. But here there's a lot more experimenting with it. From various instrumentation to genre blending. Not to mention a who's who of guest features that give added fuel to these tracks. Granted the album is very lengthy (eighteen tracks). But the way this album plays out, the way each song transitions into the next and how smoothly it runs, it doesn't even feel like it's that long. Well now...here's the break down:

1. Holy Ghost (featuring Joe Fox)

We begin here with a very relaxed sounding track. Almost too relaxed for an intro. Filled with mellow guitar strings and slow drums. The overall production is good but I just don't like it for an intro song. Of course lyrically he's not talking about much here (or any of these songs really). But there's plenty of religious undertones here to go with the songs theme. Joe Fox, who was the stand out of all the features, drops some dope haunting like vocals. Again, not something I'd choose for an intro but not a bad song in general.

2. Canal St. (featuring Bones)

Here's an ode to the popular street in Manhattan, NY (also known as Chinatown). This one has a lot more energy in it with a much doper beat. A$AP always delivers when it comes to these hard beats with very slow pacing. Production is outstanding here. Kudos to Hector Delgado and Frans Merdick on the beat. Bones was cool on the hook as well. That's pretty much it. Just a trunk song with great production.

3. Fine Whine (featuring M.I.A. and Future)

Now here is what A$AP Rocky fans are more used to. Him warping his voice to the chopped-n-screwed sound. Over what begins as a very slow paced beat with slow but heavy drums. But then the beat picks up pace and gets faster You start hearing a mixture of a lot of drums. This is when M.I.A. gets on and drops only a few lines. But the real surprise is Future. normally I can't take hearing him on these features but he was tolerable here. He wasn't all over the place as he normally is and he seem to mesh well with this production. Cool song.

4. L$D

By far the most...interesting song on the album to say the least. Of every song on the album, this is the very definition of psychedelic music. It's so slow, dreary and eerie sounding. The perfect acid trip. Then Rocky raps...well sings with this super drugged sounding voice. Like he was on LSD when recording this song. It feels like this song just takes you into another dimension. A dimension filled with the "love, sex and dreams" that he mentions. This is perfect for you stoners.

5. Excuse Me

Okay now the pace is picking up. The production is pretty simple here (I do like the beat break down on the hook though). But what shines is his flow over this beat. Which by the way Rocky has stepped that part of his game up tremendously on this album. Anyway as I mentioned, the hook is kinda catchy and goes well with the tone of the beat break down. Lyrically he's just spitting some regular New York street talk. Nothing major. I like this.

6. JD

Pretty much a minute and a half prelude to the next track. Wish it could have been more though because this was a pretty good beat wasted on a short interlude.

7. Lord Pretty Flacko Jodye 2 (LPFJ 2)

The prelude then transitions well into this song. Much more energetic and much more catchy that the prelude though. Big kudos to SlamCorp for this awesome production. The thumping bass line is perfect to destroy your car speakers. On the hook he kinda does the third person thing where it's him and this Flacko Jodye gimmick and he's talking to him. What I did find weird about this is the prelude is a little over a minute and this song is two minutes. So really both tracks is one whole three and a half minute song. Don't know why he didn't just make it one track instead of separating it. Could have cut back on these eighteen tracks. 

8. Electric Body (featuring Schoolboy Q)

Alright ladies...get your cameras and your favorite underwear to twerk in. We got another one. First off, the production is one of the best on the album. Very uptempo and has a big time get-up-and-dance feel. Hector Delgado did his thing here on production. But it's because of the insanely catchy hook why I call this the next twerk anthem. A common club chant telling the ladies to put in work on the dance floor (or the pole possibly). Schoolboy Q gets on here and does his usual outlandish thug thing. I don't know what it is but every time Rocky and Q get together on a track the outcome is marvelous. From "Brand New Guy", to "Hands On The Wheel", to "PMW", to now this. They gotta do a full project together. Anyway, despite this being a dance record for the females I like it. I'd be shocked if this doesnt become a single.

9. Jukebox Joints (featuring Kanye West and Joe Fox)

Here's another favorite beat and sample of mine. There's no bass line or drums. The beat is mostly the sample and the vocals what sounds like a small choir. It has a strong soulful sound to it. It's also yet another beat Rocky just flows so perfectly to it. Then the song switches up to a Smokey Robinson sample before Kanye gets on. Now Kanye verse was honestly one of his best he's done lately. Throwing out his usual braggadocios lyrics and some just for shock ("they want to throw me under the white jail/cause I'm a black man with the confidence of a white male). Rocky honestly couldn't have picked a better person to feature on a track with this kind of dope sampling. 

10. Max B (featuring Joe Fox)

First and foremost let me say that I never was a fan of Max B. I know he's always had a huge following but I could never get into him. Anyway this was yet another favorite beat of mine. I love the hard head knodding rhythm. It sounds more like what A$AP Rocky is...east coast. But the hook was what was really interesting. Joe Fox (at least I think it's him and not a sample) does this weird distorted thing with his voice where it makes him sound like some recording from the 1950's or something. It sounds very strange yet unique. If this was some kind of salute to Max B, from one Harlem MC to another, it certainly is an interesting one.

11. Pharsyde (featuring Joe Fox)

Here's some more of that slow, depressing, psychedelic music with the chopped-n-screwed voice. Joe Fox does a similar thing with his voice as he did on the previous song but not as bizarre. Now on this whole album Rocky doesn't really talk about much lyrically. But here it sounds as if he's speaking on the demons and the evils of the world that get his way and how he tries to avoid it all. Don't know where I really stand with this song as of now.

12. Wavybone (featuring Juicy J and UGK)

No song on here made me hit the repeat button quicker than this one. The production here is simply outstanding. It's has that southern trunk sound that changes up the tempo in the middle of every one's verse. In which everyone speeds up there raps. Dope. Big Kudos to Juicy J there. Everyone featured did there thing here. Juicy J was cool on the hood blending with the sample and his verse. Bun B brought his A game as well. His flow was dope on this beat. It was really cool to see him get Pimp C on this track as well. It's crazy because I know for a fact there aren't a lot of unused Pimp C verses floating around. So it's kinda cool that Bun B gave Rocky the okay to do it. This song is a stand out for more reasons than one. It's the only song on the album that sounds much different in sound and theme. It's completely southern. Nonetheless, this maybe my favorite track on this album.

13. Westside Highway (featuring James Fauntleroy)

This is another song that has some growing on me to do. I feel like this is for the females but he's talking about so much other stuff it's hard to tell. James Fauntleroy's hook is what makes me think this. It was a pretty good hook too. He's probably the best person to get nowadays for tracks like this. But overall, I gotta listen to this more I guess. Right now it's just...eh.

14. Better Things

So this song starts off very slow and trippy. Then out of nowhere, the beat switches up to harder drums and heavier bass. Bringing it to life kinda. This album is just filled with constant beat switch ups in the middle of songs. Anyway the beat is pretty cool. Another head knodder (a much slower head knodder). On here he isn't speaking about much of course but what stands out is some controversial shots thrown at singer Rita Ora. Which I'm not gonna get into because that's another story. Anyway, this is pretty much a "like" not "love" track for me.

15. M'$ (featuring Lil Wayne)

Car speakers haven't blown it's fuse yet? Well this track is sure to do it. The bass line here is excellent to the point where I only prefer to hear it in a car and not on my headphones. His flow on this beat was top notch too. But...Lil Wayne. One of his best, yes best guest features in a while. Dare I say it...he might even outdid Rocky on his own track. This song has already grown on me due to the beat. I love it. By the way "M'$" is just money in case you couldn't figure it out.

16. Dreams (interlude)

Eh...I really don't understand the point of this. It's just a two minute interlude of him doing that acid trip rap like on "L$D". I just see this as an album filler and/or a track that's just taking up space. Second track like this on the album. Unnecessary in my opinion.

17. Everyday (featuring Rod Stewart, Miguel and Mark Ronson)

This is the first single that I think is all hook honestly. I mean, the beat is okay. Filled with some snares and distinct organs at first then, yet again, another beat switch up to something fast paced. But the hook by Rod Stewart and Miguel is probably one of the dopest hooks on the radio right now. Their voices mesh perfectly over the tune of this track. Cool song overall.

18. Black Home (featuring Mos Def, Acyde and A$AP Yams)

So the album ends with a track with much higher energy. The beat is more uptempo than a lot of these tracks and has a tiny adrenaline rush feel to it. The hook was off a bit for me. You can't even really hear it unless you have on headphones. Mos Def verse was mad dope despite how short it was. A little surprised Rocky reached out to someone like Mos Def for a project like this. But a cool way to end an album that was filled with so much slow paced music.

Overall, I was thoroughly impressed and surprised by At.Long.Last.A$AP. A$AP Rocky has totally stepped his game up from his flow, to his originality and to his production especially. Which shines the most. I give this a final grade of a A-. Like I mentioned, A$AP Rocky is a trendsetter. I feel like he is about to start something big with this east coast meets Houston chopped-n-screwed sound. This album alone shows how well it can be done if done by the right kind of artists. He's totally killed the east coast stereotype. At first I saw that as a bad thing but this album just showed me that it's not. The game has changed...at long last. End.

Lyrics: B-

Production: A+

Collaboration: B+

Originality: A-

Concept(s): B

Final Grade: A-

CREDITS

Executive Producer

Rakim Mayers

Brian Burton

Steven Rodriguez

Lead Artist

Rakim Mayers

Production

Rakim Mayers

Brian Burton

Khalil Abdul-Rahman

Hector Delgado

Frans Mernick

Rameses Magnus-George

James Scheffer

Michael Mule

Isaac De Boni

Mario Loving

Nesbitt Wesonga

Teddy Walton

Kanye West

Che Pope

Dan Lynas

Jordan Houston

Carlton Mays, Jr.

Michael Dean

Mark Ronson

Emile Haynie

Jeff Bhasker

Ross Birchard

Tom Elmhirst

Malcolm Martin

Collaboration

Joseph Fox

Elmo O'Connor

Maya Arulpragasam

Nayvadius Wilburn

Quincy Hanley

Kanye West

Jordan Houston

Chad Butler

Bernard Freeman

James Fauntleroy

Dwayne Carter

Mark Ronson

Roderick Stewart

Miguel Pimentel

Dante Smith

Darryl Damien Washington

Label

A$AP Worldwide/Polo Grounds/RCA Records

Mic's Mixtape Of The Week

Don Trip

In The Meantime EP

Available now on DatPiff

Mic's Web Chick Of The Week

Snooky Hollyhood

Newburgh, NY

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COMING SOON

God, Money, War - King Los

Dreams Worth More Than Money - Meek Mill

Wildheart - Miguel

Copyright 2015. Mic Navarro's Corner.

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Yelawolf - Love Story ALBUM REVIEW

When Eminem signed Yelawolf to Shady Records in late 2010, that should have been a clear sign to everyone. Even someone as lyrically great as Eminem recognized the talent Yelawolf has. I myself took notice long before the contract signing. Yelawolf's unique and versatile flow, as well as his lyricism caught my ear immediately. Along with his country, Alabama redneck heritage that he proudly reps in every song. It all makes him a stand out in hip hop today. From the moment I heard his 2010 independent album Trunk Muzik 0-60 I was hooked. It was a much darker approach to southern trunk music that told gritty tales of  his upbringing in Alabama and his country lifestyle. So I don't even have to further explain why I, as well as so many others, are anticipating this. His sophomore album Love Story. Now his 2011 Shady debut Radioactive received a ton of mixed reactions. Some loved it and though it was one of the best debuts in quite some time (even got  4.5 mic rating in The Source magazine). The there were some who were let down by it. Mostly because of what seemed like a number of commercial reaches that were totally out of his comfort zone and felt forced by the label. Nonetheless, everyone expected better this time around. I thought that while Love Story was a solid project, it's totally what I was not expecting as far as sound. The album is one huge fusion of hip hop and country music. Like there are literally full songs where Yelawolf is singing country. A few things gives this away though. First the album title. You immediately think there will be some level of emotion and he may talk about past relationships a lot. Not to mention a lot of country music is very emotional and talks about love. Also, Yelawolf's country roots should have had people expecting him to eventually go this route with his music. Lastly, the album cover. It may just look like a ordinary wolf but notice there's no collar. I think that represents Yelawolf being unleashed. Freed by the label and letting him make the album that he wanted to make from day one. I bet a lot of you didn't even catch that. Anyway, there's a lot of emotion on this album. From tales growing up in Alabama, family drama, drama within the music industry and of course past relationships. Though the album is very lengthy (18 tracks), you kinda forget that the more you listen to this album and it grows on you. That said, here's the breakdown:

1. Outer Space

So the album begins in dramatic cinematic fashion. Yelawolf ends up getting abducted by an alien space craft and flown out to space. The song is very intense. It has a very fast pace adrenaline rush feel. Yelawolf has done this a few times. Starting the album with a energetic adrenaline pumping intro. Props to WLPWR on the production (who handled majority of the albums production). One thing though, this songs kinda teases you. Where you hear it it gives off the impression that the rest of the album is gonna be this high octane. Only to find out that's not the case at all and this is the only song out of all eighteen with any level of high energy. Dope intro nonetheless.

2. Change

This song kinda sums up the reasoning for this albums country music sound. Yelawolf's telling his audience that this "change" was bound to happen and hopes that they can accept it. Production wise it has a bit of the country feel with the banjo and the country like harmonies on the hook. An alright song to me. Hopefully this new "change" will grow on us all.

3. American You

Now here is where we get out first taste of pure 100% country music. No rapping whatsoever. Straight country singing. Now I'm not a fan of country music and this song was a tough pill to swallow at first. The more I listen to it the more I actually start to like it a bit. It sounds like he's reflecting on his family and his upbringing in Alabama. Mentioning things that his mother used to tell him as far as making it in the world and things like that. If you're a fan of just hip hop and not country, you probably won't like this at all (or any of the songs on this album just like it). But I myself can live with it. 

4. Whiskey In A Bottle

This one I kinda liked after just one listen. WLPWR does a great job with the production here. it's a smooth blend of hip hop, soulful jazz and country sounds. Now it wasn't until after my third listen of this song where I caught the songs concept. You look at the tile and you immediately think he's gonna talk about getting drunk or something. Nope. He refers to himself being the bottle of whiskey. In a sense that he, like whiskey, gets better with age. Acknowledging the fact that he's 30+ but still kicking dope raps. Dope.

5. Ball And Chain

This is nothing but a minute and a half interlude of him singing some more. Now understand, like many rappers, he's not a talented singer. But after all this is country music singing and in some cases, "vocals" aren't that important to get a point across. But this to me just seemed like an album filler. Could have left this off the album completely.

6. Till It's Gone

Here Yelawolf is again exploring one of the many demons that comes with being in this music industry. Having people from your past that were never around. all of a sudden wanting to be your friend. Now that your rich and famous. This is something I'm sure a lot of celebrities have dealt with at least once. Production was just average for me though. WLPWR overall did a good job with the production on this album but this one wasn't one of his best. 

7. Devil In My Veins

Of every country music inspired song on this album, this song is definitive country music. It is the furthest thing from hip hop. Yelawolf sings country on this very moody and depressing sounding song. Speaking on the devil and how he tries to fight him off everyday. But back to this sound. When you walk into a bar/diner on the deserted country roads late night, this sounds like what they're playing on the jukebox. Or some old man with a long grey beard is in the corner singing it with a guitar. I mean all this was missing was a Tim McGraw and George Strait feature. Needless to say, this song wasn't my cup of tea.

8. Best Friend (featuring Eminem)

Here one of my personal favorites of the album. Released as a single, the song basically talks about two things at once. Yelawolfs past friendships and the new one he as now with Eminem. The only guest feature on the album. Production was mellow but gets livelier at the right time. Yelawolfs verse are calm and somber melodies. Then out of nowhere, Eminem does his usual thing when doing guest verses. A lyrical tirade that's well over sixteen bars. The hook sounds kinda cheesy the way Yelawolf sings it but I still find myself singing it because of how catchy it is. Dope song.

9. Empty Bottles

Here's yet another song with very mellow and calm production. Not much energy. But it's alright for what it is. Props to Malay Ho on the production. The song is just him talking about his alcohol addiction and how is hurting him. A relatable topic for most. 

10. Heartbreak

Some of you can probably tell from the title what this song is gonna be about. I pretty much guessed it myself. He's talking about a past relationship that went sour. Sounds like the girl just wanted money and other materialistic things out of him and this frustrated him. Of course...breaking his heart. The production here has this very jumpy and "happy" melody to it. This is the sound the love songs on his last album had that people did not like. This might be a little better than those though.

11. Tennessee Love

By far my favorite song on the album. This song was also on Yelawolfs last mixtape Trunk Muzik Returns and I loved it even on that. But it sounds and fits better in context with this album. The production has that very low, whispering bass sound in which Yelawolf gives whipsering like vocals. Sounding similar to other songs like "Pop The Trunk" and" Gangster". I always love when he does songs like this. Now following a song where he wants out of the relationship, sounds like here he's on the rebound and wants in on a new relationship. He apparently meets a girl that he really likes and wants to start a new life with her in Tennessee (which is where Yelawolf recorded this album). Overall great song. Love it.

12. Box Chevy V

The fifth installment of the "Box Chevy" series that started on Trunk Muzik 0-60. Honestly, this may be the best one. It's a lot more catchier and a lot more radio friendly than the previous four (it is the first single). The hook sounds very..."sing-a-long-ish". It's guarantee to get stuck in your head due to it's catchiness. Of course as you know, the song is nothing but him once again expressing his love for a old school pine box Chevy. His favorite car apparently. Dope.

13. Love Story

This is nothing but one long sentimental verse about him reflecting on how he got to this point. Who has been there, the struggles, the obstacles he overcame and what are now his plans for the future. He touched on this a lot on this album. So much that I honestly think this sounds like just another album filler. Probably not needed. It at least should have been a bonus track. 

14. Johnny Cash

Here's another song that grew on me quickly. Yelawolf is comparing himself to one of his biggest idols, Johnny Cash. In a sense of performing that is. He comparing how he walks on the stage and the crowds reaction to that of Johnny Cash when he walks on the stage and the crowd reacts. I love the hard head nodding bass line. As well as the simplistic yet straight-to-the-point hook. I was a little disappointed to find out through Yelawolf's Facebook page that 50 Cent was actually supposed to be on this song. He would've sounded pretty good over this beat. Dope song nonetheless.

15. Have A Great Flight

It's at this point where the album starts losing steam for me. Here's another full fledged country song with him singing. Didn't really like this too much either. It sounds like he's talking about someone who was close to him that had to leave for whatever reason. Telling them to "have a great flight". Unlike the other countrified songs on this album, this has a bit more country music instrumentation you can hear very clearly. But still, this one...I'm just not feeling.

16. Sky's The Limit

Not only does this part of the album lose steam, but the songs start sounding like bonus tracks and/or album fillers that are just not needed. The song talks about the issues troubling America and the world today. Also sharing his thoughts on what he believes is truly the American dream. Production sounds a little like something up Eminem's alley. Would have liked to hear him on this too. But this song is barely average for me.

17. Disappear

This song fooled me for a bit. I had to give it multiple listens to catch what's going on. When you hear the lyrics you hear him mention "daddy" multiple times. You immediately think he's talking about his father right? Well...you're close. The "daddy" he's referring to is God himself. This song is one big cry for help to God. Asking him to help him disappear from his actual daddy...well step daddy. Apparently he was mean, abusive and just an overall bad influence. I like the message but at this point the album becomes so draining that this song just sounds boring and tires you. Not to mention the fact that it already sounds soft and depressing to begin with.

18. Fiddle Me This

Well...we close out this long, long journey of an album with something a little bit more energetic. The song has a country, dixie rodeo sound with the fiddle and all. This probably has the best mixture of hip hop and country of all the songs. Especially how it ends with a fiddle solo that fades into record scratches. A way of merging both the country music world with the hip hop world. Very cool.

Well in conclusion, it was long, it was unexpected, it was a huge risk. But Love Story is an album that certainly did the job that it was supposed to do. It was a heartfelt genre blending album that Yelawolf wanted to do since day one. He had a story to tell that he never told, and delivered it the way he wanted to. Through his country roots. I give this a final grade of a B-. Despite it's length and the large amount of country music influence, this album proves Yelawolf's versatility and his ability to experiment with his music. Throughout this project, he talks about where he is in his career and where he might end up down the road. Now I don't know if this country music/hip hop style will catch on with many. But if it helps him better tell his stories that I say stick with it. Let it grow on people and make it become popular. That should definitely give him a steady path into his hip hop future. Well...hip hop and country music future. End. 

Lyrics: B+

Production: C+

Collaboration: D+

Originality: A-

Concept(s): B+

Final Grade: B-

CREDITS

Executive Producer

Marshall Mathers

Lead Artist

Michael Atha

Production

Michael Atha

William Washington

Malay Ho

Marshall Mathers

Luis Resto

Mark Batson

Mike Elizondo

Jeffrey Smith

Dean Honer

Collaboration

Marshall Mathers

Label

Slumerican/Shady/Interscope Records

Mic's Mixtape Of The Week

Fetty Wap

Two Face: Fetty Wap or Zovier.

Available now on DatPiff

Mic's Web Chick Of The Week

Anna Gram

Miami, FL

Instagram: @_blackwid0w

COMING SOON...

Copyright 2015. Mic Navarro's Corner.

micnavarro.blogspot.com

@mic_navarro on Instagram

Tyler, The Creator - Cherry Bomb ALBUM REVIEW

If hip hop was a high school and all the artists were students, then there's only one student who's been in detention since 2011. That "student" is Tyler, The Creator. He and Odd Future have become one of hip hop's most popular and yet controversial cliques. Tyler being the ring leader of it all. With his attention stealing lyrics that center around anger, rage, frustration and sometimes sadness. All described in the most obscene and disturbing words you'll hear from anyone. It's because of that why Tyler has become a fan favorite and has been for so long. In the last year or so he's been rather quiet. That is until now. Here is his fourth album Cherry Bomb. Coming off 2013's Wolf (see link below for review) I pretty much expected the usual Tyler, The Creator madness we normally get from each of his albums. Along with all the split personality drama. Well what I got was something totally unexpected. I thought Cherry Bomb was a very...unique album to say the least. Tyler take a musical path with this album that I don't think he's ever taken. The production and overall sound seems to be all over the place. Like so many genre's crammed into one album. Hip hop, R&B, jazz, rock/death metal, funk, in-house, boom bap underground and so on. This is the most experimental I've ever seen him get with an album. Making it stand out totally from his previous three projects. Also of course, you get the usual Tyler going through his issues with fame, popularity, his split personalities and everything else that drives him crazy. That said now, here's the break down:

1. Deathcamp (featuring Cole Alexander)

So here the album starts off with the first song that leaked from this album. Here you get a heavy dose of loud guitars. Courtesy of Cole Alexander. It has a big time rock influence. If you listen close, it sounds as if Tyler's vocals seem very faint while the beat sounds very loud. That's the case with a number of songs on this album. I guess this is Tyler's way of showing that he wants the listener to feel more of the sound and instrumentation in these beats. Lyric wise he's basically talking about what I mentioned in the intrograph. Being fed up with fame and just wanting to live his life and do all kinds of reckless stuff with no repercussion. I have to be honest  though, this still has some growing on me to do. Not all that thrilled by it.

2. Buffalo

Now here Tyler does what he does quite often. Lashing out at numerous people for various reasons. Critics who bash him for using the word "faggot", Hopsin, Boyce Watkins, the people at Mountain Dew and so on. I particularly like this mostly for the production. Especially the sampling of Bunny Sigler's "Shake Your Booty". Which was also perfectly sampled by Pusha T on "Numbers On The Board". Dope track.

3. Pilot (featuring Syd Bennett)

Here's where the instrumentation and the sound starts to take a drastic turn. The production here is quite hard to describe. It has unique drums that give this electric funk/in-house music sound. A sound you don't hear too much in hip hop today (although I think this is the sound Kanye was going for on Yeezus). Listening to the lyrics, it sounds as if Tyler is using some kind of flying metaphor to describe how he's ready to take off now and fly to bigger and better things. Leaving all the B.S. and controversy behind. 

4. Run (featuring Schoolboy Q and Chaz Bundick)

This is nothing really but a one minute interlude about Tyler attacking fake gang bangers. How they all need to realize there are reprecussions for their actions. Like prison on death. It's just Tyler showing the little bit of conscious awareness he has him.

5. Find Your Wings (featuring Roy Ayers, Syd Bennett, Jameel Bruner, Samantha Nelson, Tiffany Palmer, Onitsha Shaw and Kali Uchis)

This song starts out very somber and peaceful. The first minute and fifteen seconds is a jazz like interlude that has a very relaxing sound. The vocals don't kick in until towards the end of the song. Now I know what you're thinking, that's a lot of damn people. Unknown people at that. Most of these featured artists here are either on instruments or doing background vocals. The only one who you can hear clearly is Kali Uchis who sings the lone verse along with Tyler. Then sings the last verse alone. The peaceful feel of this song could mean Tyler has found a happier and peaceful place to fly to. "Finding his wings". 

6. Cherry Bomb

The one thing Tyler and Odd Future has been known for this whole time is their distorted sounding production and often vocals. Here's a perfect example of just that. At first listen, this just sounds like nothing but loud noise with extremely faint vocals from Tyler. Like he's performing at a concert where the crowd is wild. But what it is your basic underground industrial and/or "noise rap" that's become popular. Mostly by the underground group Death Grips who this song draws direct inspiration from. This sound typically isn't my thing. I like to hear lyrics. But those who like Death Grips and like when Tyler does these distorted and loud sounds will love this.

7. Blow My Load (featuring Wanya Morris and Dam-Funk)

Now we have the next genre mash up: R&B. This is the song for the ladies (well lady) and you know when Tyler goes here, there's plenty of l-o-l-ing. He spits some low toned lyrics over this soft, melodic R&B beat (probably a Frank Ocean throw away). The song is a dedication to an English fashion model named Cara Delevingne (yeah I had to look it up). He hilariously fantasizes about how all he wants to do is please her...orally (not in those words either). If you know how Tyler gets when he starts talking sex, then you'll find this to be the most hilarious song on the album.

8. 2 Seater (featuring Aaron Shaw and Samantha Nelson)

This is the longest song on the album at nearly seven minutes. That immediately lead me to believe this is most likely two parts. It was. Though the title doesn't show it, there's two songs in one here. The second one being "Hair Blows". He pulled this same stunt on Goblin with "Fish/Boppin' Bitch". But anyway, the beat on the first part is really cool. I like the laid back mellow drum patterns. Would have loved to heard a guest rap feature over this beat. The second part is more softer and jazzier with the trumpets. The R&B vocals from the guest features (can't tell who is who) we're really cool as well.

9. The Brown Stains Of Darkeese Latifah Part 6-12 (remix) (featuring Schoolboy Q)

First of all, it took me ten minutes before I even pressed play because I couldn't stop laughing at this title. I had to find out the meaning behind this. I found out that it means literally nothing and has nothing to do with the song. This is just Tyler being a comedian once again. He wanted to give the song a funny super long title that people will remember. He originally was gonna title this "The Brown Stains Of Blackeese Latifah Part 6-12 (remix) (rough draft) (club edit) (Rodney Jerkins mix)". I'll give you a minute to laugh at that. Anyway I really do like this song. It's the hardest, most aggressive sounding song on the about. The beat is what gives it it's aggressiveness. When it drops it like a direct punch in the face. Sounds great in your car. Schoolboy Q was the perfect person to feature on this because it does fit his outlandish yet thugged out style. The hidden song right after this is called "Special" sounds pretty cool even though it's really short like a interlude. 

10. Fucking Young/Perfect (featuring Charlie Wilson, Chaz Bundick, Syd Bennett and Kali Uchis)

There's a lot going on with this song(s) so brace yourselves. First, this is another R&B blended track with some interesting guest features. Charlie Wilson's hook really gives this song life to the point where I could see this on radio. Now, the song talks Tyler falling in love with a girl that's under age. How he knows it's wrong but the love is so strong that he just can't help it. Tyler uses the album title Cherry Bomb as a way of describing an underage girl who's trouble. Taunting and flirting with adults with provocative and sexual behavior. Sounds a lot like social media today. The second half of this track "Perfect" is kinda the girl's response to Tyler. She sees him as being "perfect" while he sees her as too "fucking young". Makes sense? It's a little complicated I know. But I fully understood after a few listens. Pretty solid two in one track overall.

11. Smuckers (featuring Kanye West and Lil Wayne)

By far the most anticipated track on the entire album for obvious reasons. First off, the production is pretty cool here. It has like a jazz band sound with  laid back touch. It sounds like Kanye may have had a hand in making this beat along with Tyler. Especially with that Kanye like sample. Now Kanye's verse was typical Kanye. Bragging and boasting (I face palmed at that opening Nike line). Wayne's verse however was surprisingly good. Nothing too great but good enough for this track. His guest verses lately have gotten a tad bit better. Just a tad. Anyway this song is cool overall. Worth the hype.

12. Keep Da O's (featuring Pharrell and Coco O.)

Here's another one of those "noise rap" songs. This beat is loud and gives you an feeling of an adrenaline rush. The added siren like sound effects just adds more to it's chaotic sound. Now here both Tyler and Pharrell warp their voices to a more higher pitch. I laughed a bit because Pharrell sounds a bit like Eazy E with his voice warped. But anyway that's all. It's cool overall.

13. Okaga, CA (featuring Leon Ware, Clementine Creevy and Alice Smith)

Throughout this whole album, there's this recurring phrase of "finding your wings". Which again means flying away to bigger and better places in your life. Achieving more. Here, Tyler talks about that but this time he wants to take his girl along with him for the ride. He wants her to share this life and success with him. Apparently, California (his home state) is that bigger and better place that he wants to go. Bringing her along too. Anyway this is another song with plenty of guest feature vocals over a very mellow sounding production (plenty of those on this album as well). But in all, this song was alright. It takes the "finding your wings" thing and puts it in a much better perspective.

14. Yellow [BONUS TRACK]

Once again, he's talking about  another female he's falling for. Describing her as being his favorite color. Yellow. Which also reminds him of the summer sunshine. But this track is more instrumental than vocals. Makes it feel like a closing interlude. So yeah, nothing special but something short and simple for a bonus track. 

In closing, Cherry Bomb is the perfect title for this album. It's an explosion of experimental sounds and genre blending. Tyler kinda gambled here with this but I think in the end, it came out well. I give this a final grade of a B. Judging by most of his topics on this album, it seems Tyler is still not where he wants to be in his life and his career. Even after already achieving a decent amount of success. But at the same time, I feel like he starting to head down a better path to those bigger and better things. He's not as outrageously graphic and strange with his lyrics as he once was. It's also seems as if a bit of consciousness has come out of him lately.  Sky's the limit for him. If he sticks to this "find your wings" thing he believes in, he will go to these places, meet these new people and achieve whatever it is he is still setting out to get. He will be fine. End. 

Lyrics: C+

Production: B-

Collaboration: B+

Originality: A-

Concept(s): B+

Final Grade: B

CREDITS

Executive Producer

Tyler Okonma

Lead Artist

Tyler Okonma

Production

Tyler Okonma

Collaboration

Cole Alexander

Sydney Bennett

Chazwick Bundick

Quincy Hanley

Roy Ayers

Jameel Bruner

Samantha Nelson

Tiffany Palmer

Onitsha Shaw

Kali Uchis

Wanya Morris

Damon Riddick

Aaron Shaw

Austin Feinstein

Charles Wilson

Kanye West

Dwayne Carter

Pharrell Williams

Coco Maja Hastrup Karshoj

Leon Ware

Clementine Creevy

Alice Smith

Label

Odd Future Records/Sony

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