Last year, up and comer Vince Staples made a hit with his album debut "Summertime '06", and with good reasoning behind it. An admirably consistent effort with memorable moments scattered throughout its run time, it is simply put, a solid rap album. It doesn't reinvent the wheel in terms of its concept, a hustler growing up on the streets of Ramona Park, but maintains interest through Staples' hints to his past. In particular, the album's namesake: "Love tore us all apart. Summertime ’06, June 30th."
With this being what it is, a pretty sprawling 20-track double album, the overall themes and atmosphere that this record generates is perfect for its subject matter. Grimy and hard-hitting beats tie together with Staples' emergent tone and verses which is particularly put to the forefront with the track "Norf Norf", the opening line grabs your attention, addressing you directly, and if that doesn't do it, the hook is certain to do so. The production, one of the album's greatest strengths, takes a backseat on this track as Vince breaks through: "Norfside, Long Beach!". This trickles down to the following tracks where it never misses a beat and never stops to take a breath, with Vince's flow on "Loca" perfectly complimenting the intro and hook from guest who features later, Kilo Kish. It is forever emergent, production really coming through with beats that simply keep you glued.
Producer No I.D. brings it all together, ensuring that every track has this quality in the case that Vince couldn't tie it in himself which happens on odd tracks such as "Dopeman". The beat overwhelms his verse on the track and as a result you struggle to hear him, allowing for the production and the feature from the aforementioned Kilo Kish overshadow his performance. However, this is immediately course corrected with the next. "Jump Off The Roof" is as simple as a hook goes on this album, but it is one of it's best and when it kicks in, even on the first listen, I couldn't help but tag along. Past this, the hook and later bridge alludes to this being the ending to an addiction, to what, I'm sure you can guess. The metaphor is hammered home by this hook, brought into the spotlight from the very first line: "What's your addiction baby?"
Where this album really came into its own and connected with me is with the closure of the first act, if you will, "Summertime". In particular the almost soulful hook, which may or may not already be apart of the title of this very article. It's a comedown, a break from the hectic lifestyle afforded by the previous tracks heard thus far. This brings Vince's insecurities to the front lines instead of focusing on his emergent vocals, showing him at his most introspective. The reflective and almost tender nature doesn't last long however, it being back to business with the second disc, continuing the Ramona Park Legend...
The second disc continues the trend established prior: solid beats and as direct of a performance as you can get out from a rapper. Vince sounds hungry in his verses, eager to throw his verses out there for all to hear with a near flawless flow. This is seen on tracks like "Get Paid" or "Street Punks" and it is just as strong as the previous disc with the same caveats in place also, with certain tracks such as "3230" whilst still a strong track in its self, Vince takes a backseat to the feature, making you momentarily lose track of whose album this actually is. It's bizarre, some cuts are undeniably unique to him and who he is whilst others just seem to fall between the cracks in terms of his own personal touches. This is at no point a criticism in regards to the individual tracks as they're all solid as aforementioned, but it does breakdown the concept put in place by Vince when he himself isn't as prominently featured to purvey said concept.
All in all, this is simply put, a great debut and follow-up to his previous mixtape "Hell Can Wait" which in itself was a promising start giving a taste of things to come. This was it, and it was certainly worth the wait, as this album has stuck around in my thoughts a year over its release consistently. Great beats and production from No I.D. and an undeniable charm and urgency from the man himself, Vince Staples. If what is seen so far is to be judged, that seems to be a winning combo.
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