Jesus, I've been slacking on this Murs-athon. I haven't written about an album from Nicholas Carter for a fucking year, even after seeing him live in November (which was awesome), when I was reminded that I still have like 5 albums to go in this discography run through. As you can probably tell by my lack of posts on the subject, Murs' discography has gotten... less interesting with time. He's still a great rapper, but thanks to a lack of risk taking and increasingly generic song and album structures, the last time I was truly blown away by one of his records was with 2011's Love & Rockets Vol. 1: The Transformation, an album you can often catch me playing to this day. Thing is, every album since then has definitely been likeable (his worst work, Sweet Lord, appeared much before that album), but nonetheless not something that stands out enough to revisit. I did think the last album I reviewed from him, Brighter Daze, was an improvement over the three projects before it though, so hopefully today's review will be successful. And if not, at least it'll open up the gateway for the two projects after, which I'm actually pretty hyped to hear.
However, the subject of today's post, 2017's Captain California, is an album that I rarely ever see talked about when it comes to the Murs catalogue, even though it houses a song with one of the worst titles I've ever seen ("God Bless Kanye West" - if this title isn't begging for clout then I don't know what is). Yes it came out during Murs' tenure with Strange Music, a period in which he was arguably at his most commercially successful thanks to a newly found audience of Technicians, but in comparison with his previous record with the label Have a Nice Life (which is a... fine album) this one has no hits, and didn't land on the Billboard charts. It probably didn't help that this album came out while Tech N9ne's music was entering freefall after his legendary run ended via the mediocre The Storm (I'll probably get around to reviewing that album in roughly 73 years), but still, surely a Krizz Kaliko feature would have maybe convinced a few more of the Strange fandom to purchase this one?
Truth be told, I'm not really expecting this album to be much different from the last couple, even if there is one production credit I'm intrigued to hear. Have a Nice Life was entertaining enough thanks to the hit singles and fairly intriguing production choices, but being that the bland "Colossus" is my only taste of Captain California thus far, I'm wondering if this project will hold up at all.
Still, it's Murs, so it's bound to be at least somewhat good. Then again, he did make Sweet Lord...
1. Lemon Juice (feat. Curtiss King) (prod. Michael "Seven" Summers)
Already, I'm excited, because this was possibly better than any fucking song on Have a Nice Life bar the title track. Since when did modern Murs become so tasteful? Firstly, the instrumental from Seven here completely erases all the memories of his woeful work on Tech N9ne's Dominion album from this same year, with beautiful sound effects and nice drums creating a bright and surprisingly melodic backdrop that feels incredibly rich - I keep telling people this guy is fucking underrated. And not only is the beat great, but the chorus is too! Not just "better than expected", but actually great and really catchy! And while I expect the rapping to be of a certain quality, this shit is just seriously hilarious, with Murs and Curtiss trying their best to get the attention of the same lady by putting each other down on wax. This was unique, catchy, and a brilliant way to start things. I could see myself coming back here, straight up.
2. Shakespeare On the Low (feat. Rexx Life Raj) (prod. Wax Roof)
Alternatively, this ridiculously titled song (with equally ridiculous names on its collaborators - I mean, "Wax Roof"? Are you serious?) was merely alright. Rexx Life Raj isn't blowing anyone's mind with his generic, PartyNextDoor esque performance on the hook here, and I thought we'd already worked out that these fairytale aping storylines were a bad idea on 2010's "West Coast Cinderella". Whatever, at least the instrumental was of decent quality.
3. GBKW (God Bless Kanye West) (prod. K-R.O.K.)
Mercifully, Murs' praise for Kanye doesn't extend beyond the first line of the chorus here - this song is much more serious and moving than its silly title may imply. The track is actually about how everyone needs a prayer, whether it be a young Target worker who finds himself constantly chastised by gang members/police officers (whom is the subject of the excellent verses on this track), or a multi-millionaire who is constantly chastised by the press and general public for his every action (and remember, this was 2017, before Kanye started doing things that really did deserve all the scrutiny). Musically, this song is awesome, with the instrumental building and deconstructing itself at appropriate times to make for something very intense, while Murs drops great verses and memorable hooks that once again aren't annoyingly repetitive, like some that appeared on his previous few records. This was really great.
4. Colossus (prod. DJ Rek)
5. Another Round (feat. Krizz Kaliko) (prod. Michael "Seven" Summers)
After some intial synths that are more than a little similar to those on "Pussy and Pizza" (sorry, I'd better stop the Have a Nice Life comparisons), Seven drops in his second hitter of the night in this great track that's only slightly marred by Krizz Kaliko's incredibly overdramatic vocals. Look, I'm a Krizz fan (I even, shockingly, own a couple of his albums), but when he starts singing in that ridiculous operatic tone I really have to tune out, At least the melody is solid, and it gives Murs room to drop two powerful (if somewhat hypersexual) verses that really hit you in the feels, and a short and sweet hook as well. Let's hope that this album doesn't keep up with this up and down streak - because when it's on, it's some of the most interesting Murs shit in a while.
6. Xmas and Thanksgiving (prod. DJ Fresh)
A bit of an iffy one this, although it certainly isn't outright weak. One of the first instances of Murs teaming up with DJ Fresh (who I believe went on to produce 2020's Love & Rockets Vol. 2) is a shorter track about the story of a woman who ended up becoming a full time prostitute, and quite a successful prostitute at that. The problem is... I'm really not sure what this song's message is. The track seems very insensitive about the subject, which to me is that of someone who's lost their way in life - it's almost as though Murs is making fun of this person, especially in the bullshit hook, easily the worst element of the track. Of course, do what you want with your life, but is this really the correct way for Murs to address this? At least the beat was dope though, and excluding the hook the verses are decently written, offering insight on what leads one to this path. But overall, this just feels incomplete and, how can I put this.... slightly off. Hmm.
7. Summer (prod. MOD)
Although this track does bare similarities to a song I previously slated, "Colossus", I actually really dug this joint, produced by yet another bloke I've never heard of in my life (according to Genius.com this is in fact his only credit). The instrumental on here is booming, creative, and definitely gets the head nodding with it's deep 808s. I love it. And Murs sounds right at home, rapping from the perspective of a gang member who watches his friends get arrested and killed, yet continues to bang and even enjoy it, as that's all he knows. And unlike "Colossus", this song truly feels tragic, with the synths in the beat creating a tension that kind of exemplifies the hopelessness of the track, and the powerful return to "and I can't wait til the summer comes" as each chorus comes back around, showing that the ways will never change no matter what the protagonist goes through. See, when Murs gets serious he can create something truly great - this is excellent.
8. 1000 Suns (prod. Michael "Seven" Summers)
Murs drops an ode to his wife, one that seems much more positive than the previous one of those we heard, "If This Should End" off of Brighter Daze. Here, it seems like Murs' marriage is still going well, which is of course great for him, except I am aware his next album is largely about their divorce, which makes this song much more tragic in the cold light of day - I think Murs has since found a new wife, which is great news of course. Seven's third and final instrumental of the night is as quality as you'd expect, if it feels a little skeletal at times, and Murs' rhymes are deep and really well thought out. This is one of the most mature songs he's done yet - excellent work.
9. One Uh Those Days (feat. Reverie) (prod. DJ Mr. Len)
In the intro paragraphs I mention one song I was particularly hyped for based on the producer, and this one here is that very song, as of course Mr. Len is of the legendary Company Flow, one of the greatest hip-hop groups of all time, and the starting point for my favourite artist El-P. I'm not sure how this collaboration ended up coming together in 2017, but I'm damned glad that it did, as this beat is sick as hell, sounding much more like a proper underground tune than anything else from this album. This cut as a whole in fact almost reminds me of the Murs Rules the World days, as Nick's storytelling here is fascinating, with a funny ending that is also kind of powerful when you realise how close the guy he's following came to losing his life, only for one action to unknowingly save him. Reverie's guest appearance is also pretty awesome, as she comes with her signature "fuck this dumbass bitch" style. In fact, my only question is why the hook is so repetitive - the melody is fine, but when it's only the title repeated over and over it just sounds like they forgot to record over a placeholder audio. Whatever, this song is dope anyway.
10. G Is For Gentrify (prod. Wax Roof)
Murs takes a moment to get all conscious hip-hop on us here, and over a jazzier instrumental from Wax Roof (him again!) to boot, albeit one with a slightly jarring drum loop that works well during the chantable chorus, but feels a little out of place during the verses. This track discusses the gentrification of L.A., as well as the insensitive ways that gang violence is often portrayed by the news and media, and it's definitely a well written track that incorporates elements of storytelling that are evidently essential to what this record is trying to do. While I was put off by the gimmicky title of the song initially, I find this to be a good one, even if it's best moment is perhaps when the pleasant instrumentation plays out towards the end - it is always nice when rap albums give the music some room to breathe sometimes.
11. Animals Damnit (feat. Beleaf) (prod. Buttercream Bob)
Buttercream Bob. That's the name of the guy who produced this. God help me. Still, his work here ain't half bad, certainly good enough to forgive him for that ridiculous fucking choice of a stage name - the beat really does make you feel like you're traipsing through the jungle, especially with those weird ass noises that come in during Beleaf's passionate chorus. Murs' incredibly long verses on this one are pretty cool too, even if by the end it does feel like the song is overstaying it's welcome, given the simplicity of the instrumental that doesn't really change up at any point. But I guess the focus of this one should be mainly on the rapping anyway, and the performance from Murs is dope as he recounts tales from the hood that are fitting with the mood of this record. Could have done without the silly intro news report skit though.
12. Ay Caramba (prod. Anthony Cruz & ARCiTEC)
Kind of an unexpected sound for this album to head into, but a welcome one - this beat is nice, with some very interesting 808s waving around these trap drums and a bouncy synth that make for a soundscape that sounds skeletal but also bangs hard, and has actually aged pretty well. Still, I'm not sure this was the best instrumental for the topic at hand - Murs' affair with the chick from "The Worst" (I'm just guessing that the tracks are connected) has gotten even more out of hand, and she's about to have his baby. Ay Caramba, right? Aside from the repetition of the title which was slightly annoying, this was a pretty nice banger - but again, I think the musical direction on the aforementioned song "The Worst" was definitely more appropriate for this type of concept.
13. Wanna Be High (feat. Big Too Big) (prod. Wax Roof)
Oddly, the album ends with a very long skit in which Murs converses with Big Too Big over some pleasant music. Murs never really included anything in his discography like this before, and while it does bring up memories of older classic mainstream releases that would have these long-ass interludes (think Supreme Clientele in particular), I can't say this'll be one I play out every time. Still, it's fun.
Like with every Strange Music release since roughly 2009, this album had pre-order bonus tracks which weren't available on the CD - however, the two tracks here are easily accessible as they were also released as singles on streaming platforms. So let's check them out.
14. Survivor (prod. Oh Gosh Leotus)
An autobiographical one verse wonder which I guess was meant as a teaser for the album, as it was released as the lead single around a month in advance. This track doesn't appear to have much traction, which is a shame, as Murs does a great job over this powerful instrumental rapping about his career and his impact - you know, it's amazing how humble and yet simultaneously confident one man can come across on the same song. But Murs is certainly a unique figure, and it's great when an artist can reflect on certain things like this in a song - it's clear Murs is feeling a little better here than he was when he wrote the somewhat bittersweet "Have a Nice Life" (which felt similar in structure to this one). Honestly, if "Lemon Juice" wasn't so awesome then I'd question why this wasn't included as the opener. Dope stuff.
15. Same 'Ol Day (feat. iMAYDAY! & Eric Biddines) (prod. Bernz)
Murs has historically teamed with Florida group iMAYDAY! ever since he signed with Strange Music in 2014, but since I never listened to their collaborative record, this is pretty much the first taste I'm having of what their collaborative music sounds like (excluding their Strangeulation Vol. II cypher), and it's pretty good, if clearly more of a iMAYDAY! track than a Murs one. Bernz' smooth bassline makes for a calming backdrop to this track about putting on a smile through the worst of times. It's a nice track - the hook is fun, and the guest rappers make the most of their time here, especially Bernz who probably does the best (our host sounds a little out of it on this one). This is certainly decent, although not exactly something that's got me jumping to listen to iMursDay! just yet.
So, there you have it. Murs' sophomore Strange Music solo venture (try saying that quickly 3 times in a row). Honestly, while this thing is pretty inconsistent at times, and doesn't appear to have any real direction (although Murs stated that it was "a return to his L.A. storytelling roots", so that's something to go on), I liked it quite a lot. This album has aged far better than most of the blatantly mainstream sounding Have a Nice Life, and yet also sounds like it's going to be much more replayable than the 9th Wonder collabo Brighter Daze - in fact, it might just have those two beat, which I'm finding surprising since this silly album title/cover and amalgamation of unknown producers stacked the decks very much against it. Captain California is a legitimately good record, especially once you get through the initial wobbles of "Shakespeare On the Low", a concept that was never going to work, and "Colossus", a concept that simply didn't work regardless. Generally, the ideas for these songs as well as the execution and overall sound makes this album far more appealing from front to back than Murs' inconsistent previous solo work, even including the two pre-order bonus tracks. The highs are just as high, with "Lemon Juice" and "GBKW", as well as later cuts like "1000 Suns" and "One Uh Those Days", stacking up to "I Miss Mikey" and "Woke Up Dead" (although admittedly nothing could surpass the title track from that album) - only without the added baggage of blandness ("Pussy and Pizza"), overproduction ("Mi Corazon", "No More Control") and plain old stupidity ("Black Girls Be Like"). And this is coming from someone who actually enjoyed Have a Nice Life! Having come into this record expecting it to be pretty uninteresting, I've left with even more excitement about what's to come in the next few Murs records, and another great album from the dude to add to the ever-growing list. How I ever lost faith in the guy I don't know, because Murs of course again delivered. He's fucking dope!
Expectations: Exceeded
Best Track: "GBKW (God Bless Kanye West)"
Worst Track: "Colossus"
A shit-ton of other Murs reviews are available over here!
No comments:
Post a Comment