Good things come to those who wait, and Boogie’s fans have been rewarded for their patience in this instance. It’s a quality debut that can only cause the Compton rapper’s stock to rise.
After a lengthy wait, West Side Boogie has finally released his debut album, Everythings For Sale, under Eminem’s Shady Records. The three year gap between this album and his previous mixtape show mass amounts of progression for Boogie both as an individual and as a rapper.
As far as a Compton record goes, this is somewhat a sullen release. There’s sadness in both Boogie’s words and his delivery of them. It’s a raw, unapologetic release in that respect. There’s a difference between this gloominess in comparison to the ever famous conscious rap that has it’s own Twitter sub-section. This feels far more real than someone trying to be real, and Boogie’s brought this all together with a natural lyrical ability and a natural ability to tell a story. Boogie’s ever unique and somewhat raspy vocal makes for near enough every track on this album having a cool hook; and on top of all of this, Boogie’s flow is top drawer. There’s a distinct lack of 2019 theatrics around this whole record and the person who made it. It’s an old-school vibe from one of Compton’s new-school front runners.
A melodic production adds value to the style in which Boogie raps. Delivery and production both very much compliment each other throughout the entire project which, by the way, is the perfect length. Ever since the Wyoming Sessions of 2018 this seems to be my view, Boogie’s 38 minutes is the perfect length to show off everything necessary without anyone overstaying their welcome.
I tell a lie perhaps, Eminem very much overstays his welcome. His guest verse on Rainy Days is genuinely the worst thing on this album by far. “Like a shepherd havin’ sex with his sheep/Fuck what you heard,” is an early front runner for the worst line of 2019, with the try-hard Eminem generally bringing down the tone of what is an overall great listen.
Elsewhere the features on this album are great, particularly J.I.D’s verse on track five, Soho. Boogie and J.I.D both elegantly glide over a catchy beat throughout with Boogie successfully diving in at the deep end on a flow switch, the whole track is one of the album’s highlights.
We’re looking at one of the debut albums of the year here, no cap. Boogie’s successful debut will catapult him and Shady Records forwards to places they haven’t been for some time. A little bit more exposure and we could be looking at a very big name in the coming years, this first step was a big one and I’m looking forward to seeing what else Boogie has to bring to the table.