This album was released on February 9th this year. Rhymefest is, of course, most famous for being a writer for Kanye West for many years. Most Hip Hop fans know he wrote the verses for one of Kanye’s most iconic singles, “Jesus Walks.” He’s an important guy, especially in Chicago. However, for some reason, I never really see anybody talk about his solo work. Before checking out this latest album, I went back and listened to his debut LP, Blue Collar. There were a couple of tracks I loved and a couple of tracks I hated, but overall I thought it was kinda mediocre. I still am glad I checked it out, though, because it’s worth it for tracks 11 and 12 alone in my opinion. Those songs are amazing.
Anyway, I wasn’t sure how I was gonna feel about this latest release, but I was definitely intrigued by the presentation and overall concept. It’s based on the famous conversation that James Baldwin had with Nikki Giovanni in 1971 on a program called *SOUL!*. I had been aware of this conversation for years, but I had never actually watched it until now in preparation for this review. It’s amazing. Check it out if you haven’t seen it. It just solidified my stance that the concept for this record is a really good idea. The album itself ended up completely surpassing my expectations. Track 1 is called “Intro,” and it sets things up really nicely. It really feels like a musical version of the *SOUL!* program on which it’s based. It had me pretty excited to hear the rest of the album. I think it works perfectly as an intro. The first actual song is called “Triggered.” The way Rhymefest incorporated the audio of Nikki & James speaking is really cool. The quality of the audio is strangely crisp. The opening verse is performed by a woman named Helixx C. Armageddon. I’d never heard of this artist prior to listening to the record, but I absolutely loved her performance here.
> There’s trauma and then there’s peace
And there’s a little bridge you build between the body and relief
It’s how I sleep under the cannons
Running plays with the dragons, crush the waves with the kraken
Believe me, it’s not all fiction
Poetry in motion to galvanize the description
Of safe harbors, when even “safe” has its limits
Hard to play possum when you’re both the sufferer and witness
I did a little research—keyword: little—on Helixx C. Armageddon after hearing this verse because I was so impressed. Apparently, she’s been rapping since the 90s but didn’t release her debut album until 2022. I’m definitely gonna check that record out. It looks really interesting. I look forward to hearing more material from her in the future. Anyway, after her verse, there’s a clip of what might be my favorite quote of the whole conversation from James…
> You go through your life for a long time, you think that… ‘No one has ever suffered the way I have suffered.’ You know? ‘My God, my God…’ And then you realize that your suffering doesn’t isolate you. Your suffering is your bridge. That many people have suffered before you. Many people are suffering around you. And always will.
The way Rhymefest comes in after this part is awesome. I actually don’t know who I’m more impressed by between him and Helixx. They both sound amazing here. This may be a blasphemous, outrageous opinion to have, but I personally think that they somehow were able to match the eloquence exhibited in James & Nikki’s conversation with their writing on this song.
> I leaned on you under pressure
Broke your heart in pieces and glued it all back together
This the Japanese art of Kintsugi
Every time we hammered, scars revealed the beauty
Imagine if passions built like a male masochist
Enchanted by your beauty, but thrives under the nastiness
I can never sit calm when the stress comes
We go to war throwing F bombs
But after the bombs fire, I post bond and bond tighter
We make love next to bonfires
See, this my trauma bonding disease
Danger’s in the room, and it ain’t you; it’s me
It’s not only his writing that makes me love the song, but his flow and vocal delivery as well. I’m not sure who produced this song, but I like the beat a lot too. It’s kind of tense yet low-key at the same time. I’m really glad Helixx & Rhymefest both spit two verses on this song instead of just one each. I also am really glad that they opened the record up on the subject of suffering and trauma. I think this shit is dope as hell.
Track 2 is called “Elderberry,” and it functions as an ode to Rhymefest and the featured artists’ grandmothers. The production is a lot more uptempo than that of the preceding song. The first verse from Rhymefest is amazing.
> NiNi, can you hear me?
Even though you left, I can feel you near me
Everybody wanna act so sincerely
I can hear the flap of the vultures near me
I can see the crack in the culture clearly
Ridin’ on the back of the ultra theory
Cryin’ in the lap of the ghost that hear me
I can draw a map to the closest memory
The sung hook is performed by an artist named Frayne Vibez, and it’s honestly one of my favorite hooks of the year. The melody and vocal performance are outstanding. The second verse is performed by someone named Teefa, and her verse is excellent.
> Gave me life, so I see clear
Without you we wouldn’t be here
The time we had was the best of years
Man, I wish God would’ve kept you here
You gave me strength, so I left my fears
The wind blows, I know it’s your breath I hear
The song ends with another clip from the conversation in which James talks about how our ancestors taught us how to survive. This song grew on me the more I listened to it. I liked it when I first heard it, but now I love it. I think it’s dope as hell.
Track 4 is called “Creator,” and it features Brittney Carter & Rell Suma. This might be the best song on the album. The production is superb, and the first verse from Rhymefest is incredible. Not only is it beautifully written, but the passionate vocal delivery really makes me feel every word he says. You can hear a lot of emotion in his vocals, which I really appreciate. The lyrics remind me of a video essay that I recently watched from lil’ bill called “What Makes a ‘Good’ Man?” It’s basically a study of black men’s ability and methods of loving, both of oneself and of others. The part where he mentioned black fathers who are physically present but emotionally absent caused me to break down in tears, but that’s neither here nor there.
> We can paint the passion or create distractions
Go to bed hungry, wake up, and make it happen
I can’t erase what happened, my unfaithful actions
With fake attractions, ok, mistakes will happen
Ok, I take the blame, I’m lookin’ dumb, create the caption
She like, “boy, what’s your problem?” Baby, thanks for askin’
I had a 20 city tour, that’s a lot of practice
I had a chick that gave me everything in Calabasas
It’s hard to stay at home and have a love that’s everlasting
My mom and daddy had a love that was never lasting
I’m tryna learn to love, and I would pay for classes
I’m tryna straighten up the wheel before I SKRRT and crash it
The vocals on the hook from Rell Suma are really nice, and the second verse from Brittney Carter is excellent. She’s an artist whose name I’ve seen floating around the internet for at least a couple of years, but this is only my second time actually hearing a performance from her. She had a really nice feature on IAMGAWD‘s *The Eternal Reflection* album. Check that project out if you haven’t heard it yet. Anyway, the more I listen to her verse here, the more I appreciate it. Again, it takes me back to the aforementioned video essay, as well as the conversation on which this album is based.
> I take accountability for tryna change you
Assumed the role of God, that ain’t my job, so what’s my angle?
Guess I know just what I wanted, when I wanted what I see
Is your potential, but we wasn’t ready, baby, that’s on me
I made mistakes too, played up in your face too
I had to learn to love myself and let go of the past ’cause now that ain’t you no more
Are we done taking score and placing blame?
If I cannot extend no grace then I am not who all I claim to be
Oh baby, if you ain’t with me, I need you around
I forgave you for them days that you was doin’ me foul
And I forgave you for those days that you couldn’t provide
Looking back now I can see how that was eating your pride
This song is beautiful and genuinely deep. The music video just made me appreciate it even more. That might be my favorite music video of the year so far. This shit is incredible. Track 5 is called “Who You Talking To?,” and it features Freddie Old Soul. It has one of my favorite instrumentals on the record. The friendly-sounding, piano-driven beat evokes my childhood, or childhood in general.
English