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| Cover Art for "DROGAS Light" |
Lupe Fiasco. Lupe Fiasco is a Chicago born MC who first gained major attention after featuring on Kanye West's song "Touch The Sky", a single from West's sophomore album "Late Registration". After spitting an ear-grabbing guest verse as well as dropping a few overlooked mixtapes. Lupe finally turned heads when he dropped his debut album back in 2006, entitled "Lupe Fiasco's Food & Liquor". Critics and casual listeners alike both praised Lupe for not being the stereotypical "shoot em up bang bang nigga die slow" type rapper that, at the time in 2006, was dominating the hip hop scene...
With leading singles like "Kick, Push" (which told the story of a black kid and how skateboarding plays a major role in his life) or "Daydreamin'" with Jill Scott (a song in which Lupe raps about a robot that represents the poverty in Chicago ghettos) even rapper Jay Z was quoted as saying that Lupe was "refreshing". Lupe then followed up with an even better album released the very next year called "Lupe Fiasco's The Cool" which had darker, heavier production, more abstractness in its lyrics, was more experimental in certain songs (See: Hello/Goodbye) and overall a way more personal, powerful album than "Food & Liquor". The album also contains Lupe's biggest single to date "Superstar (feat. Matthew Santos)", which Lupe himself even refers to as his "theme song". It seemed like Lupe was unstoppable at the time, fresh on the hip hop scene and he had already dropped 2 widely considered "classic" Hip Hop albums (even if Lupe himself doesn't consider "Food & Liquor" classic). However, music industry politics effect every Hip Hop artist, whether directly or indirectly, and Lupe is no exception.
Lupe's 3rd and arguably most controversial album "Lasers" (released in 2011) was pretty much universally heralded as "trash" save for a few songs on the album. With way too many songs that find Lupe rapping over popish, radio friendly beats. It didn't make for a great listen as Lupe has never been that dude with the massive pop appeal like a Drake has. The foundation in Lupe's music has always been rooted in hip hop, never pop or R&B, so when Lupe raps over terrible beats like this one, it made for an extremely grating and overall terrible listen. In fact, Lupe himself said he hated "Lasers". Lupe blamed his label (at the time) which was Atlantic Records for not allowing him to release music unless he made music their way, which would explain the poor musical choices on "Lasers". Lupe's subsequent album "Food & Liquor II: The Great American Rap Album Pt. 1" was a step more in the right direction for Lupe but still didn't capture that same magic that Lupe's first 2 LP's had. This was also due to more label interference and conflicts going on at the time over Lupe's 4th album. Lupe's 5th album "Tetsuo & Youth" however, saw a true return to form as hackers threatened Atlantic records if they did not release Lupe's 5th album as Lupe had intended. Which, this reviewer will be forever grateful for, as "Tetsuo & Youth" I thought was the best album of 2015, but enough on that (this is a DROGAS Light review after all). "Tetsuo & Youth" being the fifth album Lupe has released under Atlantic records, has fulfilled Lupe's 5 album deal with Atlantic and as a result Lupe Fiasco is now an independent artist.
DROGAS Light marks the 1st of 3 (alleged) releases from Lupe. DROGAS Light, DROGAS, and then Skulls (which is supposed to be his final album, but Lupe retires than un-retires every other month, so you never know when he'll be completely done.) and so begins my journey to find out how Lupe is handling his new found independence. Now, DROGAS Light is supposed to be a prequel, an appetizer, if you will, to the actual album called "DROGAS" (nicknamed "DROGAS Deep" by Lupe on Twitter) and "DROGAS Light" is just something to wet the appetite of Lupe Fiasco fans for the time being. Lupe has said that this album was a "refinement of Lasers" and he gives hints that a lot of these songs on "DROGAS Light" aren't really that new and may have some age on them. (He directly states in his own review of DROGAS Light that the majority of these songs were from "the vaults" implying that this isn't exactly his newest material, or he could be basically alluding that he's releasing an album full of trap inspired throw away Lupe Fiasco tracks. Which, I have no problem with as Kendrick Lamar dropped one of the best compilations of throw away tracks last year.
But regardless of whether or not these are throwaways or not Lupe is still getting the same amount of judgement everyone else gets, I'm just starting out reviewing, I gotta maintain at least some credibility.
Anyway, onward to "DROGAS Light"....
1. Dopamine Lit (Intro)
This song almost sounds like a parody of trap songs today, and I mean that in the best possible way. Lupe takes the trademark "lazy sounding" flow that some newer, soundcloud artists utilize and makes a dumb, nod-your-head-along-to-the-beat-and-the-flow type trap song and it works! Which is odd for Lupe cause he hasn't really rapped over trap production for a full project before (I mean, Lupe HAS rapped over trap beats like on "Chopper" or "No Problems" with Future, yes, Lupe has a song with Future) but with DROGAS Light, Lupe will be tackling the topic of drugs and trapping, while rapping over beats that have been inspired by drugs and trapping. Which, is pretty cool now that I think about it.
Yeah, good song, the difference between this trap song and some other more generic trap songs is that Lupe always keeps his lyricism alive, even when he's rapping haphazardly he's still goes harder than a LOT of other rappers (especially those rappers who mostly rhyme over trap beats). Good intro, decent way to start off the album.
2. NGL (feat. Ty Dolla $ign)
Wow, I wasn't expecting a really quality Lupe song on DROGAS Light, but here it is. "NGL" basically stand for "Niggas Gon' Lose" and Lupe takes a pessimistic yet realistic take on why Black people tend to "lose" in life, both in the literal and metaphor sense. I love the message of this song more than anything cause Lupe sounds more frustrated than anything on this song, but it's a righteous frustration cause you get the sense that Lupe wants the best for his people but he sees all the self destructive behavior and can't helped but be vexed by the behavior of his own people (yeah, vexed is a good word) and so Lupe makes this song work. Ty Dolla $ign does a wonderful job at adding melody and harmony to the track, making the hook of "Niggas Gon' Lose" much more impactful cause now a smooth, sultry voice is now in your ear, making sure Lupe's message is heard, and most of all remembered. Production is also on point here, it's a little poppy, but the message is not lost because of the production. Lupe makes it work, and if this song was about anything other than the harsh reality of black culture, I can see it being played on the radio, but there's too much truth in this song to even consider that. It's only the production that reminds me of the radio. Great song, a definite highlight track.
3. Promise
These song transitions are TRASH. Lupe, you my guy and everything but damn these tracks so far have no semblance of cohesion at ALL. The transition from NGL to Promise is terrible. It's like you had your iPod on shuffle the way this song came in.
Anyway, awful transition aside. This track is actually fire. Lupe here, is directly making fun of the new wave of trap rappers who tend to repeat their hooks constantly by saying the same things over and over. Lupe, in the hook, literally goes "repeat it, repeat it, repeat it" and even takes on the new age flow that the new rappers tend to do now a days (example of the type of song that is being parodied in this song) and he executes that type of song perfectly. This reminds me of when Hopsin did the song/skit "No Words" and actually ended making one of the most enjoyable songs he's ever made. The difference here is Lupe is way more subtle in his approach, and regardless of what you might think, Lupe actually doesn't have a real life disdain for trap music. I like this song, regardless of any deeper meanings or concepts about this song. It just sounds good to me, but the added layer of meaning in this song just blows my mind and makes this song extra memorable. Another highlight track on here.
4. Made in the USA (feat. Bianca Sings)
The very beginning of this song is hilarious. The way Lupe says "The American Motherfucking Dream NIGGA!" "Read the motherfucking tag, bitch! Salute the Flag, BITCH!" is just priceless to me, like he's the most ignorant yet patriotic American ever. There's not really a super duper deep concept on here (not by Lupe Fiasco standards anyway). He's basically talking about how all the messed up parts of certain places in the United States are products of American culture and are therefore "Made in the USA". Not gonna lie, this song was mostly forgettable. The only thing I could remember from this song was the opening lines and the really repetitive hook that has Lupe literally repeating "Made in the USA" over and over again (Lupe could've did this song by himself, Bianca "half-ass'dly" sings was not needed on the hook, her backing vocals weren't impactful enough to make enough of a difference in the song. Overall, "meh" song, don't care for it, won't be revisiting it ever. Not enough replay-ability.
5. Jump (feat. Gizzle)
This song is good, it has all the components to make it a good song. A nice, thumping beat with a catchy hook provided by Gizzle. Lupe is telling a story that ends up with him and Gizzle somewhere in outer space, and Lupe paints a really vivid picture with his words. But I don't really care for this song. Technically, it's good, and has all the things I'm looking for in a song, but it doesn't have that "x-factor" that makes me really like a song. It's a decent song, let's establish that, but it's not anything quality, or anything I'll remember even a week from now. It's one step above "Made in the USA" but that's not saying much as "Made in the USA" was just above terrible. Another decent song, but will unfortunately be lost in the ether of forgettable songs. Not even Lupe can make every track stick, no matter how hard he goes on a song sometimes it just doesn't work. And this is one of those songs, that simply doesn't work for me. Next.
6. City of the Year (feat. Rondo)
These are definitely some throw away quality type tracks. "Made in the USA", "Jump" and "City of the Year" are the most mediocre run of tracks I think I've ever heard, and this is coming from someone who loved "Tetsuo & Youth" in 2015, even more so than "To Pimp a Butterfly". This song is essentially on the same level as "Jump". A cool, [Anthony Fantano voice] trap influenced beat. A memorable hook that's not as annoying as "Made in the USA" (it's actually a pretty decent hook). But yeah, I'll be hard pressed if you can find anything else interesting about this track. It's really a lazy song disguised as an anthem. I don't find myself caring about anything Lupe or Rondo say, and the beat has this faint electronic twinge in the beat, that I think is supposed to make it more pop friendly but it really just makes the song that much more uninteresting. This is definitely a skippable track for me. Nothing interesting or noteworthy here.
7. High (Interlude) [feat. Simon Sayz]
Song starts off with a high pitch shifted, auto-tuned hook supplied by Simon Sayz that's actually not that bad. I enjoyed how the beat becomes ambient and then builds up when Simon does the chorus. It reminds me of Frank Ocean's "Nikes" from "Blonde". It's cool how it's like Alvin from Alvin and the chipmunks is serenading me. However, I will say that Lupe's verses are the weakest part of the song, not because his lyricism is lacking or anything. But because the beat changes once Lupe starts rapping and it's more of the same, generic-radio-attempt beat that I've been hearing on "DROGAS Light" and it's pretty annoying. The beat on this song when Lupe is rapping, sounds like something someone in the record industry would think constitutes a radio hit, when in reality, they couldn't be more wrong. Nice hook, and much like the last 3 songs. This one gets chucked in the recycle bin of "songs I don't want taking up space on my computer's hard drive". ¡Próximo! (that's español for next!)
8. Tranquilo (feat. Rick Ross & Big K.R.I.T.)
Finally! A song worth a damn! Lupe gets on his positivity tip on this song as he uses this song to state his philosophy on how he plans to live his life. By smuggling in and spreading peace and love. Or as he says in the hook of the song "Tranquilo by the kilo", which is actually a clever way of playing off the drug theme of DROGAS Light. Rick Ross comes through and delivers a short but sweet verse that actually falls in line with the positivity that Lupe was radiating in his verse. Even though Ross doesn't keep it all the way peaceful (it is Rick Ross after all) with lines such as "let my son hold my strap while I swim laps in the pool" it does show a different, more progressive side of Ross that I think he doesn't enough credit for. Sure, most of his lyrics are on some scarface, gangster type subject matter. But I hope this verse shows people that Ross doesn't rap about that all the time and can switch up lyrics to be more suited to a more positive song topic. Big K.R.I.T. lays down a nice verse as usual, he also keeps in line with Lupe's theme of love and tranquility.
Overall this is a pretty dope song from 3 heavy weights in the hip hop game. Definitely one of my favorite tracks on this album.
9. Kill (feat. Ty Dolla $ign & Victoria Monet)
Oooooooooweeeeeeee I like dis! The best song on DROGAS Light also clocks in as the longest song on here at just over 7 minutes, according to apple music (funny, usually it's the shortest song on the album that I end up enjoying the most). First, the production sets the tone for the song perfectly, a nice beat that fuses soul with modern trap inspired production, it's really nice how Ty Dolla $ign & Dernst "D'Mile" Emile II produced this beat. It came out great. Ty Dolla $ign comes through with an absolutely fantastic and infectious hook that is sure to get stuck in your head (it did for me!).
And what's even more dope about this song is the overarching concept behind it. Now, my interpretation of the song is this. Lupe and Ty are male participants in a strip club who look at the strippers revolving around the pole as akin to satellites revolving around the earth (hence the lyric "satellites for strippers/ runnin' 'round and 'round she go") and since Lupe and Ty are near revolving satellites, they must be in space, therefore they must be astronauts (hence the lyric "saturday night for niggas/astronauts and alcohol") and as for the "Dollar bills to kill" that just means they got money to spend on these strippers haha.
Victoria Monet sings from the perspective of the stripper who is on the pole and who is receiving the dollar bills (hence the lyric "money to burn in my atmosphere") from the dudes like Lupe and Ty (They are spending money on her to strip, of course). I thought her part was pretty nice, I've never heard of her before but she has a nice voice and I enjoyed her contribution to this song. The transition into her part was nice too!
The next part of the song is probably my favorite part as the song transitions from a strip club to a church on Sunday morning. Really, what Lupe is doing is comparing the church to the strip club which Lupe has done before, so it makes sense. The more I breakdown this song, the more I like it, on top of sounding good, I also get a song with an out of this world (pun intended) concept. This is what I like from Lupe and this is what I want from Lupe. Songs like "Kill" NOT songs like "City of the Year" because it's songs like these where Lupe shines his best. I hope to hear more songs like these on the regular DROGAS as well as Skulls. Great song.
(Sidenote: I remember him posting this song on his instagram as part of his "Personal Stash". I'm glad that this was one of the songs that he decided to finally release to the public)
10. Law (feat. Simon Sayz)
Our good friend Simon Sayz returns and delivers a pleasantly resonating hook as Lupe raps about "Drizzy's Law" which is essentially a rule that says to surround yourself with ladies and stay there. Now, on the surface, that sounds ideal but it's just as important to maintain relationships with people of the same gender as you as well as the opposite gender. There's really nothing special about this track. Simon Sayz hook is okay, but he sounds like generic pop singer #7078 on here and while Lupe's lyricism is always on point, he raps like he's trying to spit game to a woman, and he just comes off as cheesy. I can't take this track seriously, it's okay but nothing to write home too. Another throw away track that shows why it was a throw away track in the first place.
11. Pick Up the Phone
Okay, this is bad, like blatant-attempt-to-appeal-to-soccer-moms-who-drive-minivans bad. Who the hell is this song intended for? The song feels like it wants to go for that top 40 billboard Phillip Phillips Home type fame, but Lupe is spitting complex "Tetsuo & Youth" type bars that the average person (including myself) can't really sing along to. The hook is pretty bad, like Lupe found a college kid at a street corner cafe and paid him $20 to sing this lackluster, poor excuse for a hook. Also, if this song is in any way supposed to be an attempt to appeal to radio to get airplay than why does the hook singer say "Pick up the fucking phone" the very last time he repeats the hook? It makes no sense! This shit is terrible! I mean awful. I can't see the song appealing to anybody. This song has "Lasers" type production with lyrics that most people will need to sit down and breakdown before they can sing along to it and on top of that the hook sounds like it belongs on the laptop of a struggling guitar player. Not on a rap album with songs like "Kill" or "NGL". Screw this song I'm done talking about it. Trash.
12. It's Not Design (feat. Salim)
Alright, I can at least see the appeal of this song, even if it's not necessarily a good song. This song is leagues above "Pick Up the Phone", but that's not saying much as that song was an audible dog turd. The thing is, Lupe doesn't do pop, or uptempo to-be-played-in-the-club songs well. I'm sure there are reasons as to why he would release these songs, but, personally, if I was Lupe, I'd bury these songs somewhere where they would never see the light of day, even after I'm dead, no one would be able to find these songs. I don't understan-...wait...is Lupe using fucking auto tune??????? Please tell me that this was an old song that Atlantic made him record in order to appeal to the radio cause this song sounds dated and not in a good retro type of way. More like a "I just got out of a coma and want to make a number 1 hit to make money" type way. 2 more tracks...let's get this over with.
13. Wild Child (feat. Jake Torrey)
This song, in essence, is an improved version of the 11th track of this album. I can see the pop appeal like the previous track, but why Lupe? You can still make the radio without obvious reaches for it. This sound isn't even what's popular on the radio anyway (at least on rap radio). Either Lupe has always loved this particular "guitar and a sunny day" sound or he's really delusional as to what he thinks constitutes a radio single now a days. Anyway, for what it is, it's not that bad. But I would hate if this sound continued onto DROGAS or Skulls. I understand that part of DROGAS light is bringing light into people's lives, but there has to be another way, cause this? This isn't it. Setting the bar real low for yourself, Lupe. I don't like this song though, and I will rather listen to chopped and screwed viper albums than this song...okay that's a little extreme, but still, I don't like this sound, Lupe doesn't really do it well.
14. More Than My Heart (feat. Rxmn & Salim)
Out of all these more pop rap songs, this is the best of the 4 (keep in mind the bar was set really low with that 11th track). The message is simple, love ya mama. Even if she ain't perfect, has flaws and all that, still, keep your affection for her cause you never know what could happen. The hook is passable and Lupe's verses are thoughtful and earnest. He loves his mother and wants everyone to know. And that's about it. The beat has pleasant sounding piano and electric guitar sounds incorporated into it and I found that pretty neat about the song. Overall though, this was a weak way to close out the album. I'm struggling to find anything really compelling about this song. Lupe maybe able to deliver songs at a high standard, but he's very inconsistent. Even if this album is essentially a compilation of old songs and throwaway tracks, these songs are just largely mediocre in the worst way (the "pop appeal way").
Overall, this was a very sloppy album. This album really doesn't feel like a "refinement" of Lasers, it feels more like a direct-to-DVD sequel to "Lasers". Even with all the warning Lupe gave before this project released, it simply doesn't make the music sound better. Like, "hey, I still want you to pay for this album, but just be assured that you're not getting me at my best, but still check it out!" I don't understand that logic. Shouldn't you want all the tracks that you don't feel showcase you at your best or most fun having to stay in the vault? I do appreciate Lupe even having the balls to release some of these tracks but the majority of the tracks on DROGAS Light should've just stayed in the vault. I'd rather wait a few more months for the real DROGAS than to have endured this "Light" project. "Kill", "NGL" and even "Tranquilo" weren't even worth it, even if they were great songs, it couldn't justify the rest of these songs like "Wild Child" or even "City of the Year", which are just some of the most generic, run-of-the-mill music I've heard in years. Can you imagine hearing "Kick, Push" and guessing that the same rapper would turn around and make "Pick Up the Phone"? It's mind-boggling how Lupe can go from great to bad from one project to another (From "Tetsuo & Youth", my favorite album of 2015 to DROGAS Light, one of the worst albums I've heard in 2017). And Lupe's independent now, so he willingly put these songs out, which is crazy to me, cause like I said I would've never let some of these tracks on here see the light of day, but it's Lupe's music, not mine so I have no control over what gets released and what doesn't. I'm only here to judge the music and maybe walk away with some tracks to add to my personal collection, which I did do (See: Favorite Track(s)).
The Good:
~ Even when Lupe is rapping haphazardly, he's still leagues above numerous other rappers in the hip hop game. No matter what, the lyricism on DROGAS Light is always present.
~ Lupe & Ty Dolla $ign need to do an entire collaborative musical project. They always seem to make magic when they're both on the track (see: "Kill" "NGL" & "Next To It")
~ Lupe can rap over literally anything, from trap production, to smooth jazz type production, to even radio disney type production. Hell, give him a beat on a desk with a pencil and he'll kill it.
The Bad:
~ Lupe has no business making songs like "Pick Up the Phone". Songs like those shouldn't exist. Ever.
~ A lot of the tracks are middling to terrible. Only a select few quality tracks. Just because these are throw away tracks, doesn't mean they're supposed to feel like throwaways. I keep making this comparison but it's true. Kendrick Lamar's "untitled unmastered" is a great example of a throwaway/b-side compilation album done right.
~ Even though Lupe is rapping well, compared to the rest of rappers today. I can tell his heart wasn't in a lot of his rhymes. Which is sad because when Lupe is spits with conviction like on "NGL", it makes everything he says hit ten times harder.
Closing Words:
Listen to the following tracks:
Track 1
Track 2
Track 3
Track 8
Track 9
That's it. Listen to any other track and you're wasting your time. Lupe will end up having one of the most inconsistent discographies of all time when it's all said and done. Going from "The Cool" to "Lasers" was such a downgrade in quality, I sometimes still can't believe that "Lasers" was released after "The Cool". And on the other hand, going from "Food & Liquor 2" to "Tetsuo & Youth" was such an increase in quality, I almost can't believe that happened either. But now, it seems Lupe is in the decrease of quality stage of his career, and his next project will be that dramatic increase in quality that I've been looking for him to release again ever since "Tetsuo & Youth".
Favorite Track(s): Dopamine Lit (Intro), NGL, Promise, Tranquilo, Kill
Least Favorite Track: Pick Up the Phone
Score: 4.5/10
Listen to Lupe Fiasco's "DROGAS Light" here.
Future Hendrix, AKA "Future" review next! Also, it was just announced that Future will be dropping another album this Friday so I might hit y'all with a double review since these 2 projects ("Future" and the new album that's called "Hndrxx") are by the same artist. Yeah, that sounds like a plan. It won't take forever to review as Future makes music that's very digestible at the surface level and you can really tell off the bat whether you'll like it or not off a couple listens (or even a first listen lol). I'm not expecting anything to breakdown from this new project from Future, just more of the same music that Future's been putting out post-DS2, which is alright. Some artists have their lane and stay in it, ain't nothing wrong with that.
Aight, I'm out
-Joe
3. Promise
These song transitions are TRASH. Lupe, you my guy and everything but damn these tracks so far have no semblance of cohesion at ALL. The transition from NGL to Promise is terrible. It's like you had your iPod on shuffle the way this song came in.
Anyway, awful transition aside. This track is actually fire. Lupe here, is directly making fun of the new wave of trap rappers who tend to repeat their hooks constantly by saying the same things over and over. Lupe, in the hook, literally goes "repeat it, repeat it, repeat it" and even takes on the new age flow that the new rappers tend to do now a days (example of the type of song that is being parodied in this song) and he executes that type of song perfectly. This reminds me of when Hopsin did the song/skit "No Words" and actually ended making one of the most enjoyable songs he's ever made. The difference here is Lupe is way more subtle in his approach, and regardless of what you might think, Lupe actually doesn't have a real life disdain for trap music. I like this song, regardless of any deeper meanings or concepts about this song. It just sounds good to me, but the added layer of meaning in this song just blows my mind and makes this song extra memorable. Another highlight track on here.
4. Made in the USA (feat. Bianca Sings)
The very beginning of this song is hilarious. The way Lupe says "The American Motherfucking Dream NIGGA!" "Read the motherfucking tag, bitch! Salute the Flag, BITCH!" is just priceless to me, like he's the most ignorant yet patriotic American ever. There's not really a super duper deep concept on here (not by Lupe Fiasco standards anyway). He's basically talking about how all the messed up parts of certain places in the United States are products of American culture and are therefore "Made in the USA". Not gonna lie, this song was mostly forgettable. The only thing I could remember from this song was the opening lines and the really repetitive hook that has Lupe literally repeating "Made in the USA" over and over again (Lupe could've did this song by himself, Bianca "half-ass'dly" sings was not needed on the hook, her backing vocals weren't impactful enough to make enough of a difference in the song. Overall, "meh" song, don't care for it, won't be revisiting it ever. Not enough replay-ability.
5. Jump (feat. Gizzle)
This song is good, it has all the components to make it a good song. A nice, thumping beat with a catchy hook provided by Gizzle. Lupe is telling a story that ends up with him and Gizzle somewhere in outer space, and Lupe paints a really vivid picture with his words. But I don't really care for this song. Technically, it's good, and has all the things I'm looking for in a song, but it doesn't have that "x-factor" that makes me really like a song. It's a decent song, let's establish that, but it's not anything quality, or anything I'll remember even a week from now. It's one step above "Made in the USA" but that's not saying much as "Made in the USA" was just above terrible. Another decent song, but will unfortunately be lost in the ether of forgettable songs. Not even Lupe can make every track stick, no matter how hard he goes on a song sometimes it just doesn't work. And this is one of those songs, that simply doesn't work for me. Next.
6. City of the Year (feat. Rondo)
These are definitely some throw away quality type tracks. "Made in the USA", "Jump" and "City of the Year" are the most mediocre run of tracks I think I've ever heard, and this is coming from someone who loved "Tetsuo & Youth" in 2015, even more so than "To Pimp a Butterfly". This song is essentially on the same level as "Jump". A cool, [Anthony Fantano voice] trap influenced beat. A memorable hook that's not as annoying as "Made in the USA" (it's actually a pretty decent hook). But yeah, I'll be hard pressed if you can find anything else interesting about this track. It's really a lazy song disguised as an anthem. I don't find myself caring about anything Lupe or Rondo say, and the beat has this faint electronic twinge in the beat, that I think is supposed to make it more pop friendly but it really just makes the song that much more uninteresting. This is definitely a skippable track for me. Nothing interesting or noteworthy here.
7. High (Interlude) [feat. Simon Sayz]
Song starts off with a high pitch shifted, auto-tuned hook supplied by Simon Sayz that's actually not that bad. I enjoyed how the beat becomes ambient and then builds up when Simon does the chorus. It reminds me of Frank Ocean's "Nikes" from "Blonde". It's cool how it's like Alvin from Alvin and the chipmunks is serenading me. However, I will say that Lupe's verses are the weakest part of the song, not because his lyricism is lacking or anything. But because the beat changes once Lupe starts rapping and it's more of the same, generic-radio-attempt beat that I've been hearing on "DROGAS Light" and it's pretty annoying. The beat on this song when Lupe is rapping, sounds like something someone in the record industry would think constitutes a radio hit, when in reality, they couldn't be more wrong. Nice hook, and much like the last 3 songs. This one gets chucked in the recycle bin of "songs I don't want taking up space on my computer's hard drive". ¡Próximo! (that's español for next!)
8. Tranquilo (feat. Rick Ross & Big K.R.I.T.)
Finally! A song worth a damn! Lupe gets on his positivity tip on this song as he uses this song to state his philosophy on how he plans to live his life. By smuggling in and spreading peace and love. Or as he says in the hook of the song "Tranquilo by the kilo", which is actually a clever way of playing off the drug theme of DROGAS Light. Rick Ross comes through and delivers a short but sweet verse that actually falls in line with the positivity that Lupe was radiating in his verse. Even though Ross doesn't keep it all the way peaceful (it is Rick Ross after all) with lines such as "let my son hold my strap while I swim laps in the pool" it does show a different, more progressive side of Ross that I think he doesn't enough credit for. Sure, most of his lyrics are on some scarface, gangster type subject matter. But I hope this verse shows people that Ross doesn't rap about that all the time and can switch up lyrics to be more suited to a more positive song topic. Big K.R.I.T. lays down a nice verse as usual, he also keeps in line with Lupe's theme of love and tranquility.
Overall this is a pretty dope song from 3 heavy weights in the hip hop game. Definitely one of my favorite tracks on this album.
9. Kill (feat. Ty Dolla $ign & Victoria Monet)
Oooooooooweeeeeeee I like dis! The best song on DROGAS Light also clocks in as the longest song on here at just over 7 minutes, according to apple music (funny, usually it's the shortest song on the album that I end up enjoying the most). First, the production sets the tone for the song perfectly, a nice beat that fuses soul with modern trap inspired production, it's really nice how Ty Dolla $ign & Dernst "D'Mile" Emile II produced this beat. It came out great. Ty Dolla $ign comes through with an absolutely fantastic and infectious hook that is sure to get stuck in your head (it did for me!).
And what's even more dope about this song is the overarching concept behind it. Now, my interpretation of the song is this. Lupe and Ty are male participants in a strip club who look at the strippers revolving around the pole as akin to satellites revolving around the earth (hence the lyric "satellites for strippers/ runnin' 'round and 'round she go") and since Lupe and Ty are near revolving satellites, they must be in space, therefore they must be astronauts (hence the lyric "saturday night for niggas/astronauts and alcohol") and as for the "Dollar bills to kill" that just means they got money to spend on these strippers haha.
Victoria Monet sings from the perspective of the stripper who is on the pole and who is receiving the dollar bills (hence the lyric "money to burn in my atmosphere") from the dudes like Lupe and Ty (They are spending money on her to strip, of course). I thought her part was pretty nice, I've never heard of her before but she has a nice voice and I enjoyed her contribution to this song. The transition into her part was nice too!
The next part of the song is probably my favorite part as the song transitions from a strip club to a church on Sunday morning. Really, what Lupe is doing is comparing the church to the strip club which Lupe has done before, so it makes sense. The more I breakdown this song, the more I like it, on top of sounding good, I also get a song with an out of this world (pun intended) concept. This is what I like from Lupe and this is what I want from Lupe. Songs like "Kill" NOT songs like "City of the Year" because it's songs like these where Lupe shines his best. I hope to hear more songs like these on the regular DROGAS as well as Skulls. Great song.
(Sidenote: I remember him posting this song on his instagram as part of his "Personal Stash". I'm glad that this was one of the songs that he decided to finally release to the public)
10. Law (feat. Simon Sayz)
Our good friend Simon Sayz returns and delivers a pleasantly resonating hook as Lupe raps about "Drizzy's Law" which is essentially a rule that says to surround yourself with ladies and stay there. Now, on the surface, that sounds ideal but it's just as important to maintain relationships with people of the same gender as you as well as the opposite gender. There's really nothing special about this track. Simon Sayz hook is okay, but he sounds like generic pop singer #7078 on here and while Lupe's lyricism is always on point, he raps like he's trying to spit game to a woman, and he just comes off as cheesy. I can't take this track seriously, it's okay but nothing to write home too. Another throw away track that shows why it was a throw away track in the first place.
11. Pick Up the Phone
Okay, this is bad, like blatant-attempt-to-appeal-to-soccer-moms-who-drive-minivans bad. Who the hell is this song intended for? The song feels like it wants to go for that top 40 billboard Phillip Phillips Home type fame, but Lupe is spitting complex "Tetsuo & Youth" type bars that the average person (including myself) can't really sing along to. The hook is pretty bad, like Lupe found a college kid at a street corner cafe and paid him $20 to sing this lackluster, poor excuse for a hook. Also, if this song is in any way supposed to be an attempt to appeal to radio to get airplay than why does the hook singer say "Pick up the fucking phone" the very last time he repeats the hook? It makes no sense! This shit is terrible! I mean awful. I can't see the song appealing to anybody. This song has "Lasers" type production with lyrics that most people will need to sit down and breakdown before they can sing along to it and on top of that the hook sounds like it belongs on the laptop of a struggling guitar player. Not on a rap album with songs like "Kill" or "NGL". Screw this song I'm done talking about it. Trash.
 |
| Me, after listening to "Pick Up the Phone" |
12. It's Not Design (feat. Salim)
Alright, I can at least see the appeal of this song, even if it's not necessarily a good song. This song is leagues above "Pick Up the Phone", but that's not saying much as that song was an audible dog turd. The thing is, Lupe doesn't do pop, or uptempo to-be-played-in-the-club songs well. I'm sure there are reasons as to why he would release these songs, but, personally, if I was Lupe, I'd bury these songs somewhere where they would never see the light of day, even after I'm dead, no one would be able to find these songs. I don't understan-...wait...is Lupe using fucking auto tune??????? Please tell me that this was an old song that Atlantic made him record in order to appeal to the radio cause this song sounds dated and not in a good retro type of way. More like a "I just got out of a coma and want to make a number 1 hit to make money" type way. 2 more tracks...let's get this over with.
13. Wild Child (feat. Jake Torrey)
This song, in essence, is an improved version of the 11th track of this album. I can see the pop appeal like the previous track, but why Lupe? You can still make the radio without obvious reaches for it. This sound isn't even what's popular on the radio anyway (at least on rap radio). Either Lupe has always loved this particular "guitar and a sunny day" sound or he's really delusional as to what he thinks constitutes a radio single now a days. Anyway, for what it is, it's not that bad. But I would hate if this sound continued onto DROGAS or Skulls. I understand that part of DROGAS light is bringing light into people's lives, but there has to be another way, cause this? This isn't it. Setting the bar real low for yourself, Lupe. I don't like this song though, and I will rather listen to chopped and screwed viper albums than this song...okay that's a little extreme, but still, I don't like this sound, Lupe doesn't really do it well.
14. More Than My Heart (feat. Rxmn & Salim)
Out of all these more pop rap songs, this is the best of the 4 (keep in mind the bar was set really low with that 11th track). The message is simple, love ya mama. Even if she ain't perfect, has flaws and all that, still, keep your affection for her cause you never know what could happen. The hook is passable and Lupe's verses are thoughtful and earnest. He loves his mother and wants everyone to know. And that's about it. The beat has pleasant sounding piano and electric guitar sounds incorporated into it and I found that pretty neat about the song. Overall though, this was a weak way to close out the album. I'm struggling to find anything really compelling about this song. Lupe maybe able to deliver songs at a high standard, but he's very inconsistent. Even if this album is essentially a compilation of old songs and throwaway tracks, these songs are just largely mediocre in the worst way (the "pop appeal way").
Overall, this was a very sloppy album. This album really doesn't feel like a "refinement" of Lasers, it feels more like a direct-to-DVD sequel to "Lasers". Even with all the warning Lupe gave before this project released, it simply doesn't make the music sound better. Like, "hey, I still want you to pay for this album, but just be assured that you're not getting me at my best, but still check it out!" I don't understand that logic. Shouldn't you want all the tracks that you don't feel showcase you at your best or most fun having to stay in the vault? I do appreciate Lupe even having the balls to release some of these tracks but the majority of the tracks on DROGAS Light should've just stayed in the vault. I'd rather wait a few more months for the real DROGAS than to have endured this "Light" project. "Kill", "NGL" and even "Tranquilo" weren't even worth it, even if they were great songs, it couldn't justify the rest of these songs like "Wild Child" or even "City of the Year", which are just some of the most generic, run-of-the-mill music I've heard in years. Can you imagine hearing "Kick, Push" and guessing that the same rapper would turn around and make "Pick Up the Phone"? It's mind-boggling how Lupe can go from great to bad from one project to another (From "Tetsuo & Youth", my favorite album of 2015 to DROGAS Light, one of the worst albums I've heard in 2017). And Lupe's independent now, so he willingly put these songs out, which is crazy to me, cause like I said I would've never let some of these tracks on here see the light of day, but it's Lupe's music, not mine so I have no control over what gets released and what doesn't. I'm only here to judge the music and maybe walk away with some tracks to add to my personal collection, which I did do (See: Favorite Track(s)).
The Good:
~ Even when Lupe is rapping haphazardly, he's still leagues above numerous other rappers in the hip hop game. No matter what, the lyricism on DROGAS Light is always present.
~ Lupe & Ty Dolla $ign need to do an entire collaborative musical project. They always seem to make magic when they're both on the track (see: "Kill" "NGL" & "Next To It")
~ Lupe can rap over literally anything, from trap production, to smooth jazz type production, to even radio disney type production. Hell, give him a beat on a desk with a pencil and he'll kill it.
The Bad:
~ Lupe has no business making songs like "Pick Up the Phone". Songs like those shouldn't exist. Ever.
~ A lot of the tracks are middling to terrible. Only a select few quality tracks. Just because these are throw away tracks, doesn't mean they're supposed to feel like throwaways. I keep making this comparison but it's true. Kendrick Lamar's "untitled unmastered" is a great example of a throwaway/b-side compilation album done right.
~ Even though Lupe is rapping well, compared to the rest of rappers today. I can tell his heart wasn't in a lot of his rhymes. Which is sad because when Lupe is spits with conviction like on "NGL", it makes everything he says hit ten times harder.
Closing Words:
Listen to the following tracks:
Track 1
Track 2
Track 3
Track 8
Track 9
That's it. Listen to any other track and you're wasting your time. Lupe will end up having one of the most inconsistent discographies of all time when it's all said and done. Going from "The Cool" to "Lasers" was such a downgrade in quality, I sometimes still can't believe that "Lasers" was released after "The Cool". And on the other hand, going from "Food & Liquor 2" to "Tetsuo & Youth" was such an increase in quality, I almost can't believe that happened either. But now, it seems Lupe is in the decrease of quality stage of his career, and his next project will be that dramatic increase in quality that I've been looking for him to release again ever since "Tetsuo & Youth".
Favorite Track(s): Dopamine Lit (Intro), NGL, Promise, Tranquilo, Kill
Least Favorite Track: Pick Up the Phone
Score: 4.5/10
Listen to Lupe Fiasco's "DROGAS Light" here.
Future Hendrix, AKA "Future" review next! Also, it was just announced that Future will be dropping another album this Friday so I might hit y'all with a double review since these 2 projects ("Future" and the new album that's called "Hndrxx") are by the same artist. Yeah, that sounds like a plan. It won't take forever to review as Future makes music that's very digestible at the surface level and you can really tell off the bat whether you'll like it or not off a couple listens (or even a first listen lol). I'm not expecting anything to breakdown from this new project from Future, just more of the same music that Future's been putting out post-DS2, which is alright. Some artists have their lane and stay in it, ain't nothing wrong with that.
Aight, I'm out
-Joe
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