[junkie-dropcap]N[/junkie-dropcap]o one in the realm of hip-hop has blended quality and quantity as well as the Griselda collective. Since 2018, it seems like I’m talking about Griselda every other month. (If that) They frequently drop enjoyable albums, they’ve expanded their roster and they hand out features like free candy. Griselda has become an inescapable force in hip-hop. But why would one want to escape from music of this caliber in the first place?
Now to put the cherry on top, Griselda members are dropping albums for the next 4 weeks straight. Starting here with Conway’s “From King To A God”. (And even then this is just a lead up to Conway’s upcoming “God Makes No Mistakes”. These people just don’t sleep I’m convinced) Conway is coming off of 2 albums in 2020 alone. Both of which were short, very replayable projects. At this point, it seems like Griselda can’t miss. So let’s dive in.
The mark of an artist is being talented yet still managing to hone your craft as your career progresses. With “From King To A God”, Conway has done this exponentially. He’s been lyrically inclined since I started listening to him but I always saw him as the most understated member of the trio. Though most anybody would probably be perceived that way put beside Westside Gunn and Benny The Butcher. But from the dramatic, theatrical opener “From King” all the way to the album’s finish Conway is a force to be reckoned with. His presence feels fitting to that of a king or a god. Colossal, as Lil Wayne would say.
Big Sean – Detroit 2, Album Review
There are certainly moments of lyrical introspection and vulnerability to be found here. Which I’ll get to. But the bulk of this album is the lavish braggadocio Griselda fans have come to expect. There’s nothing wrong with that. Quite the contrary. On this album, Conway’s bars feel refurbished solely because of how well they’re being delivered. His flows and cadences are the sharpest they’ve ever been. In big part thanks to the production.
The familiar faces are present on this album on production. Daringer, Beat Butcha, The Alchemist, even DJ Premier who’s crossed over with Griselda before. But it’s the surprising outliers that showcase Conway’s versatility. Like Hit-Boy on “Fear Of God”. At this point, Hit-Boy is frontrunner for producer of the year for 2020. Though I don’t think anyone would want that attributed to them in hindsight. The technicality of Conway’s verse on that song is really impressive. Easily a favorite of mine in his entire catalog. Dej Loaf was a decent vocal inclusion on the back end of that track too. It would’ve been cool to hear her properly rap but she’s not bad at the melodic stuff. She fit with the song thematically which is what means the most to me from a feature.
Even more surprising was hearing Murda Beatz tag on “Anza”. A trap banger for the club was the last thing I expected to find on this album yet here it is. Conway’s flow even in those circumstances remained pretty consistent and Armani Caesar was a perfect feature placement. She’s clearly in her element over that style of beat. The only minor issue I see is that she reminds me a lot more of Megan Thee Stallion when she’s on a beat Megan could easily be placed on. That’s not necessarily a dig, though.
Dvsn – A Muse In Her Feelings, Album Review
The other features on this album are all great. Method Man on “Lemon” has to be my personal favorite. Meth matched Conway’s dominant energy perfectly and rode the rhyme scheme on his verse like a champ. The best performance I’ve heard from him in recent memory without a doubt. Flee Lord and Lloyd Banks are perfect fits on “Juvenile Hell” too. (Named after Mobb Deep’s first album and featuring the legend Havoc on production and the hook) That whole song feels like a 2000s flashback in the best possible ways.
“Spurs 3” is the album’s obligatory Griselda group track and it doesn’t disappoint. I don’t even know how to describe the beat on that song besides wicked. All 3 Griselda members sound properly menacing over it. Then you’ve got Freddie Gibbs on his soulful shit on “Seen Everything But Jesus”. His singing was smooth as butter on that track. Truthfully, it felt more like one of his songs than Conway’s. The songs Conway tackles solo all feel like they have a purpose. An idea that only he can communicate. Like “Dough And Damani”. The Alchemist produced first half and the beat switch from Daringer feature equally gritty imagery from Conway on the lyrical front. “Ain’t wanna sell my man momma no work, I still sold her some” is one of the coldest things I’ve heard in a long time. The “Juice” inspiration on the second half is appropriate, too.
Kelly Lee Owens – Inner Song, Album Review
“Front Lines” features the most impassioned rapping I’ve ever heard from Conway. The beat and the bars both remind me of Joey Bada$$’s “All Amerikkkan Badass”. Specifically the track “ROCKABYE BABY” with Schoolboy Q. (“Babylon” a little too) “Front Lines” is a protest anthem written just days after the killing of George Floyd. Conway’s tone throughout the song is aggressive with just a tinge of despair. Like he’s concealing his sadness to focus on the issue at hand. It’s powerful and adds a personal element to a relevant song.
The album closer “Forever Droppin Tears” is moving in it’s own right. Being a vivid, hard hitting tribute to pivotal Griselda affiliate DJ Shay. (Who is also memorialized in the “Words From Shay” interludes) Shoutout another legend, Erick Sermon, on the production for that one. The beat has more bounce than most of the album which should greatly contrast it’s topic. But Conway and El Camino find a way to make it work. Well, at that. Overall, this sits right beside “Pray For Paris” as my favorite Griselda drops in 2020 so far. Both place pretty high in my albums of the year in general. I doubt it’ll surpass it in my mind but it’s a worthy contender. I look forward to what the next few weeks will bring from Griselda if this is how we’re starting. “From King To A God” sounds like Conway making the titular evolution. It’s his best work yet by a large margin.
