A$AP Rocky
At.Long.Last.A$AP
RCA Records
Harlem rapper A$AP
Rocky has never shied away from making bold projects. Rocky never elects to go
with the safe option rather he thrives off being a trailblazer. It should not
have came as a shock to anyone when the A$AP crew announced At.Long.Last.ASAP
was going to be an 18 track album, which is incredibly ambitious even for the
Harlem rapper who is now on his third major solo project. I truly believe that
one of the hardest things to do in music is creating a fifteen or more track
hip-hop album that stays cohesive and interesting through its run time. In
order to prevent this from happening Rocky elected to use a long list of
different producers including himself, Dangermouse, and Kanye West (not a
single track featuring production from long-time partner Clams Casino). The
feature list is also just as impressive featuring big names like Kanye West,
Rod Stewart, Juicy J, and Mos Def. On At.Long.Last.ASAP, Rocky gives his best
effort to create an expansive and unique record, but the album does suffer from
lulls in creativity and inspiration.
The lyrical themes
of the album were somewhat predictable. Rocky delivers arrogant insights into
his lavish lifestyle and sexual prowess as well as drug use. This actually does
not detract from the album for me because the production pairs with it so well.
On tracks where he brags the production is booming and lush to match Rocky’s
bursting personality. The first track “Holy Ghost” is a perfect example of this
and a great way to set the tone for the album. The album’s production seems to
switch between tracks like this and tracks such as “L$D” where the beat is much
slower, minimal, and even psychedelic. Rocky typically is discussing drug use
or his poor origins over these types of beats and really implementing the cloud
rap style that he helped pioneer. What sets Rocky apart, especially on a track
like “L$D” is the vividness that he can use to tell a story. The way Rocky honestly
delivers his innermost feelings of lust with the lines, “I look for ways to say
I love you, but I ain’t in to making love songs,” are as engaging as the rapper
has ever been. This song also features one of the most ridiculous background stories from a hip-hop track in a while.
The track “Excuse
Me” is another cloud rap highlight. The beat is ethereal and even majestic.
Rocky sounds as confident as ever and really shines on this track which serves
as an excellent gateway to the rapper’s unique personality. The album also
introduces the listener to Joe Fox, a new member of the A$AP crew that Rocky
met on the street in Harlem selling his mixtape. Fox, who used to be homeless,
provides some excellent hooks on the tracks “Jukebox Joints” and “Pharcide”
that serve as highlights for the album. “Wavybone” is another cool track that
samples a classic Raekwon beat and Rocky proves he is more than worthy to spit
over it.
One spot where
this album lets me down is the features. Lil Wayne, Juicy J, and even Kanye
West all seem to mail it in on their verses and flows. The production does not
aid Wayne or Juicy J especially because the beats are just lifeless and minimal.
Many of the beats such as “West Side Highway” or “M’$” just linger in the
background and really forces the rapper to carry them. For a rapper as maximal and
lavish as A$AP Rocky I was surprised some of these tracks were not cut and with
18 tracks there was certainly room for a bit of trimming. A lot of cloud rap
tracks use the dreamy beat style, but some of the production on this album is
just too dull. “Electric Body” featuring Schoolboy Q is by far the worst song I
have heard these two collaborate on which was especially disappointing because
when these two get together it is almost always magic.
Thankfully the
album redeems itself with the last two tracks. “Everyday” features that bigger
production that I wish Rocky implemented more and really brings the mood of the
album up. If this production was a movie, this is the track where Rocky rides
off into the sunset. Rocky spits frantically on the last track “Back Home” and
employs the help of Mos Def who matches Rocky with an equally frenetic pace.
Mos Def undoubtedly had the best feature on this album and kills this piano
based beat that would be right at home on either “Black on Both Sides” or “The Ecstatic”. The album closes with a narrative from Rocky’s now deceased best
friend A$AP Yams who sums up just what the A$AP Mob has accomplished and what
they are about.
On this 18 track
album, Rocky actually managed to make the album sound cohesive which impressed
me even for a rapper as excellent as he is. Unfortunately some of the let downs
in features as well as production had me questioning why the album had to be
this long. Rocky’s best material on here stacks up with his greater previous
work but is dragged down by some of the filler in between. Rocky could have benefited from trimming the album a bit even if it meant cutting some of the
bigger features here. Still yet Rocky creates an atmosphere on this record that
is uniquely his own. He is uncompromising and this project has his unique touch
dripping from it which should satisfy his fans.
6.5/10
-
Tom K.
6/1/2015
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