But he does come dangerously close to sounding like Drake a bit on this one. A little off kilter, which is how Wale likes it. This track has the mid-tempo trap feel that is perfect for cruising in the car to. It’s musically vibey, but not as layered as previous tracks, which clearly maybe a creative choice. Wale is straight to the point on this one and says “fuck you, leave me alone”. He gives the middle finger and avoids the effort of a metaphor like he uses in “The White Shoes”. Which is a bitterness towards the commercial and mainstream demagoguery that rules the industry that has in some ways shunned the rapper. Wale is back saying what he really feels. Musically it fits, though it may not have a lot of stand alone listening value. Wale delivers lyrically but the biggest drawback is that J. I was eager to listen to this song when I saw the title and the J. How you ask? Listen and hear ( The music video helps too). But the “white shoes” are a metaphor for staying the same. Musically a lil’ mellow for how soon it appears in the album for me. The white shoes is essentially a song about one staying true to themselves and holding onto what you truly believe in and stand for. Also I should mention he uses a lil’ throwback on the track as well. Wale explains who he is and life through his eyes. It briskly moves into the actually track: Trap drums with an eerie undertone and ominous feel. This song has an intro that musically feels 70’s I see smoke clouds and afro’s when hear this soulful movement. More of a song than an intro but sonically and musically pleasing. And as soon you’re settle in they hit you with the drums. A piano heavy and lyrical track that has the intimate small room feel of VH1 Storytellers, or that type of ambiance, Wale spits from the heart and sets the tone. Jerry Seinfeld is on the intro and much of the album, which is clearly a throwback to The Mixtape About Nothing this is a clear sign that the old Wale is back. Gramm, Rex Kudo, Idankalai, & Peter Lee Johnson From the choice in production to the rhymes and cadence that made him unique, this album, whether it’s the entr’acte or final bow, was done on Wale terms. Thankfully it appears this time out he finds a way to return to what his true fans will be able to appreciate. Lets be honest, the musical influence and general formula for success that has made Maybach Music and the whole Rick Ross brand such a marketable success wasn’t the best mesh with Wales natural inclination as a writer and rapper. While we all appreciate Rick Ross of all people seeing the talent and signing him, even though he hadn’t had much success with Interscope. But I’m strong in my conviction when say I feel that most Wale fans prefer his mixtapes over his albums. Most people who like Wale would say that it’s not due to his album releases… which is not to say that there isn’t good music to be found within those contributions from the D.C. This album is quite possibly the last mainstream release for Wale, barring some type of commercial success greater than his last album. Not to mention, even though that’s clearly what I AM about to mention, Drake, Cole, and Kendrick all have releases out… So it’s clearly about something. And this is his 4th studio release as a signed “mainstream” artist. He appealed to me, and I believe me, other purist of the art because of his lyrical style and unflinching need to tackle the more “everday” problems that were relatable not only to “the urban enclave” but also people who resonate with the struggle of poverty and growing up this generation poor in finances but rich in perspective and intellect. Wale was a rapper I discovered back in 2007 if memory serves me correct. Many Hip-Hop purist love Wale and many Hip-Hop “fans” are ambivalent or uninformed at worse about one of modern Hip-Hops only poets left.
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