After several delays, Offset has finally released his highly anticipated debut album “Father of 4.” Typically, delays mean getting s**t cleared by music execs, but this time around, I truly believe the Migos rapper wanted to give us a body of work that mirrored perfection.
I say we play “Clout” for Jussie Smollett over and over again.
Cardi B and Offset’s breakup was well documented on all of your favorite gossip sites, so there is no need for me to go into detail on what happened. I will say this, though: I am one of those people that are very happy that they were able to reunite. In “Clout,” the duo make their reconciliation official by joining forces to attack bloggers, haters, thotties and vixens. While Offset uses more of a complex style of rapping to dismiss all of these entities, Cardi keeps s**t raw on her verse, using her outside voice and solid punchlines to make sure her angst is felt.
4. RED ROOM
“Red Room” has Offset reminiscing on his past, discussing his present and dictating his future. In the process, he reminds the world how much of a savage he was back in the day, while at the same time, acknowledging his change for the better. What I like most about the song is that rapping-wise, it sounds like your everyday Offset s**t (Same tongue-twisting flows and outlandish adlibs); however, everything from his vulnerable lyrics to the dark/hallowing beat he raps over allows for this riveting feel that sorta leaves you glued to your seat.
It seems like Chris Brown has beef with a saved man.
21 Savage, Offset and Travis Scott decided to unite for “Legacy” — a dark banger that features a melodic hook by Scott, hungry bars by Offset, and a very violent verse by 21. The combination makes for the musical version of a horror movie that has a very versatile cast of killers.
The chemistry by everyone involved in this song is fantastic!
2. HOW DID I GET HERE
“How Did I Get Here” is yet another introspective track from “Father of 4.” On it, Offset basks in his winning ways, reminiscing on the times he faced jail, new environments and gunfights.
I love how human Offset comes across on this track, as he raps with this wittiness to him that legitimately sounds like he dodged several bullets on his path to success.
J. Cole is featured on “How Did Get Here,” and on his lone verse, he touches on his baptism and tragic visions, before doing a 360 and talking about f**king chicks. Cole sure does brush s**t off of his shoulders quick.
1. FATHER OF 4
I’m not going to lie, “Father of 4” almost made me tear up. It is powered by this emotional trap instrumental by Metro Boomin’, and over it, Offset talks directly to his four children. To be more specific, he lets them know about some of his regrets as a father, in addition to the pressure he felt to succeed around the time they were born. Rapping-wise, he maintained his signature tongue-twisting style, however, he added a level of emotion to his voice that made him sound highly vulnerable
SONG BY SONG BREAKDOWN
1. FATHER OF 4 (5/5)
2. HOW DID I GET HERE (4.5/5)
3. LICK (3.5/5)
4. TATS ON MY FACE (4/5)
5. MADE MEN (4/5)
6. WILD WILD WEST (4/5)
7. NORTH STAR (3/5)
8. AFTER DARK (3.5/5)
9. DON’T LOSE ME (4/5)
10. UNDERRATED (3/5)
11. LEGACY (4.5/5)
12. CLOUT (4/5)
13. ON FLEEK (2.5/5)
14. QUARTER MILLI (4/5)
15. RED ROOM (4.5/5)
16. CAME A LONG WAY (4/5)
WHAT I LOVED ABOUT THIS ALBUM
- I talked about perfection in my introduction to this album review, and tell me, who else is capable of delivering perfect production than Metro Boomin’ and Southside? Their beats on this album were riveting, cinematic, and most importantly, authentically trap. The more and more I hear s**t from them, the more and more I believe they are some of the best hip-hop producers of all time.
- The rapping on this album is pretty good! Offset was dynamic, energetic, hungry, gassed up, focused and competitive. I also felt his punchlines were solid, his word-play was phenomenal, and his lyrics were beyond meaningful. When you combine all of these aspects together, you get an outcome that is pretty entertaining to listen to.
- The one thing everyone will love about “Father Of 4” is how much Offset opens up on it. On songs like “Father of 4,” “Red Room,” “Don’t Lose Me” and “How Did I Get Here,” he tackles touchy subjects such as raising kids broke to potentially losing his wife. On the real, I don’t know a single human-being that would turn their back on such vulnerability. On other songs such as “Tats On My Face,” “Clout,” “Legacy” and “Underrated,” Offset lets the world know about his intent on remaining a problem in the game, caring less if he offends his foes or competition. I thought the way he blended both of his worlds together was masterful, even down to the way he put together the track-listing.
- I love that Offset left Quavo and Takeoff off of majority of this album (Quavo was only on “On Fleek”). As of late, I feel like their collaborations have been very blahzay-blahzay (With Offset sounding the laziest out of the three when they collaborate).
- The chemistry between Offset and his producers was outstanding on this album. I’m not sure who acquiesced to who, but you can tell both parties made it a mission to understand each’s emotions, approach and vibes. Matter of fact, I’ll go as far as to say we would’ve gotten a completely different album passion-wise if it wasn’t produced by Metro Boomin’ and Southside.
- Cardi is getting better by the day. Her verse on “Clout” was really damn good.
- Travis Scott and 21 Savage’s contributions on “Legacy” was also pretty dope.
- The artwork to this album is dope as hell!
WHAT I HATED ABOUT THIS ALBUM
- This album was divided into two: Songs that stood out and songs that didn’t. While a bunch of tracks were clearly gold, there were some that felt like throwaways. Which ones you ask? “Lick,” “On Fleek” and “North Star.” It’s OK, Set, you can have a few album-fillers on your s**t.
To be honest with you, I didn’t think Offset was capable of making an album like “Father Of 4.” Maybe we underestimate how human some of these rappers are, or perhaps people change when everything around them changes. Nonetheless, I thought this project was deep, it was pure, riveting and a lot of fun to listen to.