While it feels like most of hip hop is going pop, the Griselda group is perfectly content doing what they do best and that’s delivering some of the grimiest beats and hardest hitting bars in the game. While all three of Benny The Butcher, Westside Gunn and Conway the Machine all bring something great to the table, it feels like Conway in particular has had a rapidly rising 2020. All of his features have been standouts and he delivered a really solid project in LULU with The Alchemist (I haven’t even got a chance to listen to No One Mourns the Wicked yet). So now he’s released what he’s dubbing his debut album in From King to a GOD and it’s without a doubt a fantastic debut from an artist who is quickly establishing himself as one of the best lyricists in hip hop.
The voice of zen writer and speaker Alan Watts greets you on opener “From King,” which is definitely a nice surprise. Conway then does his thing and that’s drop hard hitting bars that set the tone for the album well. And the song ends with a sample of a Kevin Nash promo/Tony Schiavone commentary in WCW because it’s a Griselda album of course. It’s a great opener because I’ll remember it and it makes me want to hear more. Next is “Fear of God,” where Conway has a great, smooth flow and the DeJ Loaf feature fits the song’s attitude, capping off the song with a nice touch.
I really enjoy the griminess of “Lemon,” although the hook is a bit weak. But the bars hit hard, Conway’s delivery is emphatically great and Method Man absolutely kills his verse. His weathered, deep voice matches perfectly with the dark beats. Any other album and this should be easily the best feature, but this album is loaded with amazing guest features. “Dough & Damani” is produced by The Alchemist and of course it’s smooth as hell. Conway and The Alchemist have such great chemistry. Conway also features his more humorous side on this song, which is enjoyable. I particularly enjoy the short kit around two guys arguing over who gets to hold the gun.
“Juvenile Hell” is not only my favorite song on the album, but maybe my favorite song I’ve ever heard from Conway. First the beat on this is absolutely filthy and does 90s boom bap absolutely proud. Then you have the features from Flee Lord, Havoc and Lloyd Banks. Each one of them bring absolute fire, but Banks steals the show with his appearance. His flow over the beat is absolutely flawless and the wordplay is brilliant. The line I really enjoy is “I’m on my rivals, embarrass ‘em with my calm bravado/My alma mater of smackin’ a n**** horizontal.”
Next is the first “Words of Shay” interlude and it’s cool to hear these words from Conway’s close friend DJ Shay, who is unfortunately revealed to be dead later in the album on Conway’s tribute to him on “Forever Droppin Tears.” And I should point out that the title is not just an expression of Conway’s sadness over the passing of his friend, but also a reference to Shay talking about in the interludes how Conway cries when recording songs. So it doubles as Conway’s showing of passion. The song itself is an absolutely beautiful tribute with lots of heartfelt lyrics and great storytelling of the relationship between Shay and Conway. It’s all set over a bouncy and classy beat from Hit-Boy and El Camino adds a lot with his feature. But I will say I don’t think the third interlude was really necessary, as I think the tribute was good as is with just two interludes. Still it doesn’t take away much from one of the highlights of this album.
“Front Lines” is Conway’s take on the civil unrest and Black Lives Matter movement that took place this past summer and the systemic racism that has been taking place for years. Conway does a fantastic job laying out all the issues and once again his storytelling lyricism really shines, particularly when he’s describing how routine police stops quickly turn to violence for many black Americans. The song ends with a clip of a news report of when protesters broke into the Minnesota police precinct this past summer and this definitely fits the song, but I feel it goes a bit too long and smaller clip would have been more effective.
“Anza” is the weakest song of the album, as it’s pop-ish flavor is such a stark contrast to the rest of the record’s sound and sticks out like a sore thumb. It just doesn’t fit and while Armani Caesar is a great MC, her feature is a bit boring. All around this song just doesn’t work within this album. “Seen Everything But Jesus” gets back on the right track though and grows on me more and more with each listen. Conway is joined by Freddie Gibbs and as always Gibbs delivers. A nice surprise we get from Gibbs though is some singing in addition to his always hard-hitting bars. While he seemed to always be joking when doing this earlier in his career, his singing is actually pretty good and I wouldn’t mind hearing him take on some R&B songs. Even his more humorous singing moments are fun (see “FLFM” off Freddie).
“Spurs 3” is the traditional Griselda joint on all Griselda albums and like a Gibbs feature, you can always count on this to be great. The dark and eccentric beat is lively and engaging, with each of Conway, Westside Gunn and Benny The Butcher flowing well over it. Although I am a bit surprised that Benny is weakest sounding on this track, as usually he’s the best technical rapper of the trio (Gunn is more about flash and Conway is the sharp lyricist). Nonetheless it’s a solid track.
“Jesus Khrysis” has a spacey, throwback beat that draws on boom bap again, something this album really does a great job with and it’s one of my favorite beats of the album. What makes it even better is the lyricism is top notch, with Conway delivering excellent verses like “N***** try blockin’ my goals, I’ma make it Messi” and “That’s the zone I’m in, I write with a golden pen/But lately, I ain’t even been writin’, I just been goin’ in.” Not only is the later a great bar, but also a possible glimpse into Conway’s approach to writing because apparently him and Benny both go into the studio and record without any lyrics written down. They do it all from the top of their head, which if true, makes the songwriting even more impressive.
“Nothin’ Less” is another banger that closes the album out strong. It has a surprise feature from DJ Premier, who fits yet another amazing boom bap inspired song. And some people may find the reliance on boom bap influences on this album to be lazy, but I completely disagree when so much of hip hop nowadays is filled with generic, pop radio chasing beats and trying so hard to sound like a Drake song. So I find throwback beats like this be quite refreshing because it pays homage to the roots of the genre and the producers on this album also bring a modern flavor to it, avoiding sounding dated too. And of course it helps to have a great lyricist like Conway to rap over it, as a lot of rappers would get eaten up by the sound.
From King to a GOD is a fantastic proper debut album from Conway The Machine, as he brings his signature sound and high quality lyricism that longtime fans have come to appreciate him for while also bringing a level of accessibility in the music that will surely attract new fans too.