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.
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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.
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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.