Choose your muse. But choose wisely. Know what you’re getting yourself into ahead of time. The best thing about February’s final roundup of new albums is that topping the list are two newcomers, C4 The Explosive and Cise, followed by more experienced career artists Oddisee and Wise Intelligent among others. Let’s take a gander.
The life of rapper and beat constructor C4 The Explosive is so very ordinary, and it’s pretty much all he raps about in his debut album The Potential LP, but his interesting, one of a kind craft, his sense of humor, relatable messages and dynamic idiosyncratic beats launch the project into the stratosphere. C4 The Explosive, or C4 the everyman as you might be tempted to call him, raps about being a dad and husband and how his personal life seems to constantly be at odds with his work life, as he tries ferociously to find time for all of his hobbies, his work and his family obligations.
There are several different shades and dimensions to C4 on Potential. He’s nerdy, cool, funny and focused, as his work here involves a lot of self-reflection. He doesn’t overstep his vocal abilities but he’s got bunches of nice rhymes still. After answering his daughter’s clavicle question in “Intro (Clavicle Song),” there comes the title track, “Potential,” in which C4 champions having the right mindset and work ethic to reach goals. With a double layering of stacked vocals, “Dungeon Boss” is a luminous display of firsthand video game stories and scenery mixed with C4’s thoughts on his own addiction to gaming as he sees it. Plus his game music productions are nicely established and pronounced there and a bit more elsewhere.
“Contempt” finds an outlet for C4’s hilarious self-deprecation, perhaps the album’s best exhibition of it in fact, but also some general neutral pensiveness. All of the concluding songs, except for “Dust in the Wind,” the album’s wiley wind-down of beat-boxing and fresh freestyle rhymes, are dedicated to possibly the project’s most serious subject matter. In “Pallets (Warehouse Song),” C4 discusses his woes and truly mixed feelings regarding his menial, modest wage warehouse-work and how it is less than fulfilling, less than enriching for his soul. “Dish It Out” handles putting food on the table, or dishes on the table when C’s little girl and love of his life breaks one too many of them.
Despite being very humorous and tongue-in-cheek, The Potential LP is multidimensional and introspective not only for C4 but for people who are dealing with a lot of the same issues he’s grappling with. He’s fully self-aware of his situation and his weaknesses but brave enough to admit to them and work to fix them. It’s brilliant. C4 The Explosive is being modest and jokey in referring to this set as a “potential LP,” but in all seriousness, the depth of examination within earns it the status of a real bonafide LP, no less, and the driven emcee/producer has in reality explored and reached his full potential through its creation, especially considering all the other duties he’s had on top of making it. Like the nature of his rap name, C4 sets off a big bang here no doubt. He very nicely captures the modern ethos and struggle of the responsible, hardworking family man (or woman) who has passions and dreams on the side.
His mind size is extra large and with his voluble rap skills he can be either generous or concise. Los Angeles emcee Cise is helping to bring real hip-hop to the forefront in a big way. He even says so not long into his debut Good Enough. Plus he’s got the balls to call out wack rappers and their retarded material, and the vehicle that transports his messages – his solid flow – backs up the quote/unquote smack that he smacks these fraud-emcees with. Cise moves on though. He names his kids as his motivation to go out, bring home the bacon and be a real provider for him and his, and his lovely supportive lady gets appreciation in “Gates Open.”
Dressing fresh to impress, the exhibition of his flirty tendencies and his general Rico Suave-ness are topics within the few spots of filler, but from a much broader scope, Cise is conscious, progressive, kind and helpful. “The Pressure” song is pro-ambition but warns that hard work often turns into stress and also that the government and the wealthy are playing a significant part in our despair. Pulling up on those lame rappers again, he proceeds to pressure them to have a positive impact on the youth, and he ends the LP with cool inspiration in “Dreamchasers” and “Good Enough.” Cise rocks and he is a real jazzy cat who’s soulful too – just like his beats. The album may not be a standout masterpiece in terms of innovation, but in it, Cise is more than just “good enough.” He’s great.
Oddisee of Mello MG and the DMV area can always be relied upon for real substantive hip-hop. Now deep in a sizable catalogue of solo and group works, instrumental and vocal/instrumental, he is again intriguing and musically luminescent in his latest, The Iceberg. Within his patchwork of stylish flows and sophisticated disco grooves are several weighty topics and stories on meager beginnings and the want for more, Islamophobia, the income gap between the sexes, infatuations, the immigrant experience and racist politics, all discussed either extensively or somewhat thoroughly.
Most of Oddisee’s vocal efforts are spent in solid blocks of rap, but once in a while he’ll throw us a memorable refrain or two as in “Like Really” with its incredulous look at ridiculous state policies. Slim on guest features but fat with talking points, The Iceberg is another quality project from the intellectually mellow emcee/beatmaker if a little samey in relation to his other albums.
In light of all the incidences of police brutality reported in the last few years, legendary veteran-emcee Wise Intelligent (Timothy Grimes), of golden era group Poor Righteous Teachers, has issued a vitriolic indictment of all police in his new album The BlueKluxKlan. Verging on scary exploitation, the LP is no doubt influenced by real trends of abuse in impoverished sectors going back centuries wherein the meek and vulnerable (black folks for the most part in the case of the United States) are harassed, tormented, tortured and all too often killed by the people who are supposed to protect the public – law enforcement officers.
More than once, Grimes gets carried away with his words, at one point (in “One Good Cop”) elucidating that there are simply NO good cops and in later sections encouraging ghetto inhabitants to take up arms and form grassroots militias sort of like the Black Panthers to combat police violence. The latter recommendation has some logic to it; however, it could also be seen as fighting fire with fire, meeting aggression with further aggression. Still, Grimes understands that the subject of his new project is at its core a rich versus poor problem, in which the rich have always had an upper hand.
He remembers to state that the out-of-hand police brutality in poor and black neighborhoods is a product of social engineering and the corporately backed drug war set in motion to fill prisons to build an uncompensated jail workforce at little to no cost to the business community. Sound a bit like slavery? If you answered yes, you would be right. It and minimum wage employment are by and large the present day forms of slavery.
Unfortunately, a little too much of BlueKluxKlan runs off negative energy. Anger and hatred fuel a number tracks, most notably “F*ck U,” where Grimes explicitly attacks specific cultural figures and demagogues instead of faulty institutional thinking. His major claim that many cops are direct members of the KKK is, contrary to Wise Intelligent’s most sound sensibilities, an alignment with media-generated fear mongering, shock-talk and even more fuel to the fire of mass confusion. Following stellar Wise albums El Negro Guerrero (2013) and Stevie Bonneville Wallace (2016), The BlueKluxKlan is much less all encompassing when it comes to criticizing the corrupt social, political and economic system because it zones in on and crucifies only one agent of the system – police – though quite depraved some of them truly are. Most of the time, the problem is not that people or groups of people are bad but rather that some ideas and proposals are bad, and are implemented and reproduced at the behest of the powerful.
Underground Philadelphia rapper Adlib is proudly rugged and rough around the edges with his macho tones but at least he is aware of it because he manages to work some insight into his fourth project, Primitive Tomorrow. Following albums Teenagers From Marz, Bad Newz and The Highway, this new set showcases the East Coast aggressor’s hard and soft sides and the former much more so than the latter. His tough, sort of unrefined bravado and the by-the-book beats make the album hard to admire but the messages in the second half deserve some respect.
Adlib fosters a questioning mind frame and by extension freedom of mind and self but also persistence and dedication in “All I Ever Had,” and in “PEACE,” he harnesses “positive energy” for “constant elevation.” Guests Demrick, Tabs, Res Thomas and Jessica Lamb add a little something extra, but while it has its wise bits here and there, Primitive Tomorrow is wanting in lyrical complexity and it is too abrasive and to-the-extreme in most sections.
NYC casual-rhymer YL is consistent and predictable, and with the likewise ambling Roper Williams, who produced the entirety of YL’s new album Open 24, the resultant product is the ultimate experience in cool laid back smooth sh*t. YL and Williams may know how to set the mood in a very soothing way, and YL may know how to take turns speaking on herb, his romantic attachments, the streets and sex, but Open 24, though easily accessible, is quite the generic experience, very prototypical and hardly remarkable.
There are few explicitly stated ambitions from its author. In very small parts he raps on racism, how mean his urban haunts are and how other rappers don’t stack up, without proving that he’s better through topic or technique. YL is no flagrant hood criminal in drug-peddling or violent assault; however, his project is too chill and stands for few pursuits besides big dough and taking it easy.
It took Roc Marciano three years and two months to come up with some more creative rhymes, not many but some, and unfortunately, the time did nothing for the guy’s maturity level, and it’s pretty pathetic because he’s thirty-nine years old now. Rosebudd’s Revenge, the Hempstead rapper and UN member’s fourth LP, is a slog of gangstafied jock-speak over uninspiring, lo-fi boom-bap productions that stand back from the main procession the whole time.
The best this thing can possibly do is convince Roc Marciano to rethink his style and his dangerous, childish, materialistic persona, but maybe this is his innate personality, in which case he needs religion, and not the street type. He’s got too much of that already. In the past, Roc Marciano was intriguing with his quiet sneaky mobster lyrics that showed and still show some elevated writing craft, but thematically this album is just Marciano scraping the bottom of the barrel, a gun barrel in this case.
This week, recognized rap icons Fat Joe and Remy Ma released their joint album, to once again profit off feeding the industry’s appetite for pulp formula (shamefully enough), but aside from that and best of all, there is a bundle of better projects from more respectable, art-minded producers and emcees, artists like Jonwayne, beatmaker Superior, SkyBlew, AllttA (Mr. J. Medeiros + 20syl) and others. Those are the works that should be given the most attention.
Rap Album Two by Jonwayne (Authors Recording Company/The Order Label)
Apparently La Habra, CA rapper/producer Jonwayne never retired back in 2015 after his Jonwayne Is Retired EP, or did he? The artist formerly on Stones Throw Records purportedly had some drinking problems which he has supposedly moved on from since then, thanks to his work on Rap Album Two, the big man’s new rap-plus-beats LP. Via casual rhymes and gentle production, Jonwayne is very poignant on the project, discussing the vagaries of human pain in “Human Condition” and other bohemian styled philosophies in “Out of Sight” to take one example. Still, he now and again brings it back to his lighter side – him messing up his recording takes in “The Single” is impossible to not smile at.
Through the happy and sad, Jon strikes a chord with his thoughts and feelings. He’s at turns regretful for disappointing friends and himself for his recent behavior but also hopeful for the future, with dreams of a getting sober, growing up and starting a family. Jon reserves a very loaded track in particular to close everything up. In “These Words Are Everything,” he knows that his current label and artistic choices won’t get him the most money or followers, but he is focused on doing it his way and not selling out, the greatest choice of all. Guests on the album are Shango, Danny Watts, Zeroh and Low Leaf. Rap Album Two doesn’t jump out at you but rather lays back in the cut; nevertheless, it’s a nice setup from the reliably solid Jonwayne.
When it comes to boom-bap, Spanish-German producer Superior (Marcos Oviedo) is steadily becoming one of the best in the business. His brand of the East Coast American style of beats is on the smoother end of the spectrum, lovely and almost romantic in its gentle sway of samples, yet firm on the drum end. His new LP The Journey, the followup to Scenes from 2015, is a pro-compilation of some of Superior’s best stuff of late married to great guest verses from emcee-names big and small so you’ll learn about some new artists in the process.
Street themes are present in several spots, but worth mentioning specifically and besides the typical urban tales are Lyric Jones’ wise perspective on “Open Letter,” Rocdwell’s love for lady in “I Got You,” and the excited power coupling of M-Dot and Revalation in “Earn It.” The “bigger” boys worth shouting out include REKS, Verbal Kent, Termanology, Lil Fame of MOP and Spnda. Superior doesn’t show many angles of his producing style, even within boom-bap, but his sample selection, his mixing and the silky finish of the final audio-product are truly from a trained, skilled technician and artist of hip-hop music.
Chapel Hill rapper, proactive project-maker and prolific collaborator SkyBlew (Mario Farrow) has come a long way since being Young Millionaire from Auburn, Alabama back in the day when heads were eating up Jay’s Black Album and Ye’s College Dropout as the then biggest crave-crazes in hip-hop. Now, the conscious emcee has ten albums to his name, including Dreams, Toonami & Jazzier Days, his new EP with French producer Pabzzz released by UK internet radio channel Jazz Hop Café.
Pabzzz plays us warm welcoming piano in the intro “This About Dreams,” but with life SkyBlew doesn’t play around. He holds onto his sanity and remains committed and persistent to the EP’s midpoint commenting, “I refuse to snooze, I turn off the news” in “Always on Call.” The whole EP is about cool chill vibes, on music and musings. SkyBlew’s focused vocal delivery is of a prepared freestyle type, but he’s all about love and good attitude all the time. Pabzzz is more than a match for the man with beautiful easy listening, serene spa sounds, tasteful jazz of course and more.
Dreams, Toonami & Jazzier Days is a gift of random notes from the young, smart, and open-minded. SkyBlew is technically not the most complex rhymer nor the most renegade in subject matter, meaning he likely won’t turn your casual listening into deep intense concentration but still, he remains a very good guy in and for hip-hop who stands for all the right things.
Prince of the City, Tariq Ali Muhammad, hasn’t developed his emcee-craft into a whirlwind of complex lyrical rhymes, but since being reborn as a pious Muslim in the Nation of Islam some time back, deep moral teachings have been his strong suit. The teacher and rapper from Stockton, California and Norfolk, Virginia has a lot of perspective needless to say. In his debut album Price of Freedom, Tariq leaves out none of his concerns or values so he’s completely sincere with his integral outlook on life.
Muhammad’s heartache stems from the ghettos’ problems with drugs, gun violence, arrests and lockup, and his solutions include love and self-improvement, though there’s scantly any mention of the greater economic and political system acting upon communities, poor, affluent or otherwise. Still, his messages are a great start. His “M.O.B.” is not money over b*tches but rather “my other brother,” he’s not for selling one’s soul for a check, he’s seen a nine-to-five turn into a “lifelong prison” and he states simply that you can’t take wealth into the afterlife.
Muhammad’s been converted to good but it’s always been in him. He says, “my body left the trap, but my heart always stayed in.” He rarely brings up his own flaws, which hurts some chance of connecting with listeners, but his words of dedication and discipline to principles of integrity and dignity are no doubt refreshing amidst new rap music that glamorizes street crime. Prince Muhammad is also technically plain with his basic rhyme schemes and standard production but through his words he can surely help many onto safe paths of healthy thinking.
The new duo of L.A. rapper Mr. J. Medeiros (pronounced Muh-deer-us) and French producer 20syl called AllttA release their heavy debut LP The Upper Hand through On And On Records, and despite its lyrical complexities and loaded subject matter, it sort of feels like a heartbeat away from being a pop rap crossover, mostly because of 20syl’s groovy, electro dance club beats, nu-disco music if that makes more sense. Medeiros shoots his quick flash rhymes on love, fame, celebrity-worship, race, religion, injustice and childbirth with more than an air of awareness.
The issue arises in that Medeiros brings forth all these sad and intriguing truths but doesn’t slow down to discuss what we can do and how we should respond to them. It’s interesting but also troubling that on “The Woods,” the chorus states that “who controls the past controls the future.” That’s obviously not a reassuring prospect in light of who and what has been controlling the world. For the most part though, The Upper Hand may not have a leg up on the best rap ever, but it’s a pristine, finely mastered hip-hop project that does explore some of those less than comfortable topics and areas with which we need to get acquainted.
Acoustic live hip-hop band SK Invitational from Austria may not be Europe’s version of The Roots crew, but they definitely have ambitions to become it or something close to, as they routinely have something around sixteen member-instrumentalists on board and work with several talented artists, especially on their new third album Golden Crown. Firm, strong, hard-driving and invigorating tones break open the start, and appearances from MOP, John Robinson, Homeboy Sandman, Sadat X and Edo G only sweeten the pot.
The striking whole music sounds of hot jazz, funk and soul in concert with positive rap and lush singing are top notch and no less than par for the course; however, on the whole, Golden Crowndoesn’t test the system in those natural, controversial hip-hop ways, and there is generally not a great deal of emceeing, certainly not enough from the original group members, instead depending on the guests to spit the greatest heat so to speak. This is a nice music experience, albeit with a tamed and limited rap element.
2 out of 5 stars
Molotov by Saga & Thelonious Martin (Saga 718/Empire Distribution)
One could argue that Brooklyn rapper Saga on his new album, Molotov (with Chicago producer Thelonious Martin), is brash, openly and grossly sexual, materialistic to an extent, moderately lyrical and basically unoriginal but there are a few things to learn from him here, even if he is largely a less than venerable personality on his records. Saga’s lyrics on the new album unveil the face of a rapper looking more to vent, brag, and self-counsel than spread positive progressive messages. He feels as if he’s a tough savvy urbanite though he doesn’t often come down to our level (or our part of town).
He’ll one moment put cocky ones in their place when he can be pretty arrogant himself then warn fellas who chase skirts that the girls very well might scam them in the end – just two examples of where he’s coming from mentally. “Where We Live,” the crowning achievement in this set, makes us aware of warring, whoring, pimping, poverty, ghetto violence, low standards of dress and physical impropriety among young girls and so forth, all around the parts he comes from in BK, NYC, but it applies nationally really, even globally. Taking smooth twinkly samples and applying lowkey drum rhythms, Thelonious Martin loops his cuts with rigid precision but has a cozy bed of productions for us still. Saga is caught between two worlds in Molotov but avoids the worst of both with his common sense and support from new-age music mate T. Martin.
It’s been a long time since Fat Joe and Remy Ma dropped LPs. Joe’s last was 2010’s The Darkside Vol. 1 and Remy has been without a new studio album since 2006 when she released her debut There’s Something About Remy. In their Plata O Plomo (“silver or lead,” i.e. “money or bullets”) collaboration, they literally pick up right where they left off, going commercial, superficial and gangster to the fullest and pretending as if character and responsibility in the music are not important to observe. It’s funny but also sad how Fat Joe’s beginning statements give allowance to coke, minks, Gucci flip flops and beating cases and rats, among other demons and misdemeanors.
It’s not rare that the two are flagrantly confrontational, romantically unfaithful or obsessed with extravagant wealth. Final cut “Dreamin” attempts to regain some respect lost but just skims the surface. Put another way, if you were looking for Fat Joe and Remy Ma to confound our expectations of them here, you’re gonna be disappointed. Plata O Plomo is totally detached from intelligent hip-hop and worldly consciousness as it’s nothing more than a glitzy mobster fashion show gone much too wild.
The past week saw the return of Lupe Fiasco, KC powerhouse Ces Cru and Quelle Chris of Mello Music. The under underground might not have been popping off much, but the aforementioned artists from the underground to mainstream delivered adequately to astonishingly well. So relax your mind, let your conscience be free and let these here joints teach you a thing or three.
The Ces Cru men of Kansas City (Donnie “Godemis” King and Mike “Ubiquitous” Viglione) return with respect and character once again in their sixth LP and third with Strange Music Inc. Entitled Catastrophic Event Specialists, the project brings all the vocal fire the group is famous for plus sociopolitical tones and messages that were less than very prominent on their previous albums but definitely profound and shocking in a good way here.
As they’ve always done with excellence, these outstanding backpackers reinforce real hip-hop music and authentic emcee-culture in the look-back in time of “Combustible” and in all other parts through pristine technique. In “Highlander,” they denounce what are implied to be mumble rappers around a scathing yet true statement by Ubiquitous – “Hillary’s a fake and Don Trump’s a fraud.” “Rubble” further tests big money-driven rappers and resets the bar higher with a stellar assist from Rittz. “Tidal Wavy“ speaks on some mainstream artists’ motivation for strictly personal gain as they warn that “living for self and only self you’re prone to die alone” and “you only care about yourself and that’s weak sh*t.” They confess they don’t have “mad dough, cars [or] designer clothes” but that makes them more than your “average joe.”
A light piano interlude opens Act II before Ubiquitous tells of rappers “lacking respect” who are only “after a check” with Godemis describing a mass media hip-hop scene of “actor”-rappers. A furor of frustrated voices from the public in “Purge” builds to “Gridlock,” where topics include victimization of the poor by (some) police, nepotism, government gridlock obviously and the unconcern of “elected” officials who are chosen by the super wealthy. The powerful (or powerless) “Slave” then fully describes the condition of being subservient to power structures, of falling for mind control tricks played by authorities (“head in a cage” as they say). A (inappropriately?) raunchy (and promiscuous?) Tech N9ne and a testy MURS then pave the way for the opening of Act III, another cool jazz cut.
With a subject already discussed countless times but still worth revisiting, “Deja Vu” explains how the tightest of relationships can easily become a dizzyingly disorienting separation. They’re letting us know how it is, so we’re prepared when and if we get in that situation. Songstress Mackenzie Nicole, beautifully real and expressive on “Hero,” is positively inspirational with the boys, and “famished ghetto celebrities” and guests Krizz Kaliko, JL, Joey Cool, Info Gates, Kutty Slitz, Trizz and former direct Ces Cru lady-of-rhyme Perseph1 all “hangout” to spit some laid-back, cavalier styles and some raw vicious ones, but never that “same same” dumbed-down garbage.
Way to go and good for the two frontmen of Ces for sticking together all these years. Their chemistry is incredible. Memories are made and lessons are learned listening to this disc. With energy and articulation over electric music, Godemis and Ubiquitous have some fun, exercise their tremendous skills and hold sources of extreme power accountable at the same time, with impeccable immaculate flows. The type of hip-hop music these Catastrophic Event Specialists make is not the end-all-be-all of the genre, meaning the backpack way is not the best way hands down period (how would rap innovate if it were?), but Ces Cru always take it back to the essentials with amazing results, as crisp as chips, chips off the old block of their great emcee forefathers.
5 out of 5 stars
Drogas Light by Lupe Fiasco (1st & 15th Prod./Thirty Tigers)
Lupe Fiasco’s music was supposed to get better after he left Atlantic Records. Instead, it seems to have gotten a little more mainstream-y, or so is the case in the Chicago wonder’s sixth LP, Drogas Light, released through 1st & 15th (his personal imprint) in conjunction with Nashville music-services firm Thirty Tigers. It’s not as if Lupe doesn’t come with messages or substantial lyricism on the project, but they are either scaled back to a somewhat lesser role than before or mixed with kitschy pop-music styles. In other words, he really knows how to put the light in Drogas Light.
Lupe gets through all of his most system-critical songs in the beginning half. His call to abandon poor character and poor values in “NGL” (feat. Ty Dolla $ign) risks coming off as misplaced criticism of poor blacks due in large part to its name, “N*ggas Gonna Lose,” and his list of bad things born in America in “Made in the USA” may seem like simply a jeremiad from the homeland, sans solutions, and both are marred by lacking bars and some snuck-in references to money, cars, choppers and other material ends. Even his “Jump” story of a relatively green artist held hostage for a rap career by a seductive street vixen (his metaphor for the music industry) descends into a bit of club bass’d decrepitude with its easy twerk-to beat and the generic Gizzle as guest.
Furthermore, for a song like “Tranquillo,” which is intended to support purity of soul and mind, to feature super mobster-rapper Rick Ross and have love for “myself and all my n*ggas, all my b*tches and all my thugs” (interesting wording) is to put forth a commitment to good that condescends its objects of affection with nasty pejoratives and epithets at the same time. The last very noteworthy part of great passion and depth of meaning would have to be “More Than My Heart,” the finale, which is Lupe’s version of rap’s famous love-for-mom song. The rest has enough visceral gusto to comment on love and romance with sounds of funk, disco and other pop concessions in store.
While parts of Drogas Light showcase Lupe’s unmistakably solid rapping, swaths of it have a tendency to feel (at least) like flimsy filler and lowbrow content because of crowd-pleasing beats and Lupe’s chant-deliveries and his more lax flows. Lupe is back but sections of his new album are simply unLupe-like, as he sort of compromises consciousness for trends, not to the nth degree but enough to ache dully. This is Lupe Fiasco as we all know and love him for the most part, albeit to a minuscule loss of hardcore artistry and moral integrity, a modest step down for someone of such stature, originality, character and vocal identity, who came and remained in the game as a very devout conscious emcee. Let’s hope he stays one.
With the release of his Being You Is Great LP upon us, Mello Music artist Quelle Chris from Detroit now has six albums out, all with Mello. Chris is again famously all-over-the-place with his moods and ideas on fuzzed crate beats that are less capricious than his disposition. The only thing that holds the album together is a smattering of scattered wisdom. Besides a few interesting guests, like Jean Grae, Elzhi and Homeboy Sandman, among the arguably too many mediocre ones and the random words of weight (e.g. “things are going to go down but we are going to stay up”), Chris is hardly distinguishable and more often than not throws around flippant comments with lyricism that is difficult to call impressive, and his emotional state is rarely something other than sad, troglodytic, sarcastic, braggadocious or cutely hopeless.
The project’s title says it all. Looking in the mirror, Chris might wish he could be serious more often instead of goofy as his records display, but his conduct on the album seems to suggest he is perhaps not comfortable or courageous enough to be the former, or more down to earth, as he's untethered to any one thing for any substantial span of time. Whimsy and wacky, Being You Is Great unfortunately pays improper attention to the most important matters of human life (social, political and economic issues) and spends much more time being weird, peculiar and inconsistent.