Album Review — Conway the Machine’s ‘From King To A GOD’

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.

Grade: 9/10

The Endless Music Odyssey, Vol. 3 — Freddie Gibbs, Eric Church, Khruangbin & More!

Hey y’all! There are several albums I’ve been wanting to talk about since taking my break, so no fancy introduction is needed. Let’s talk about some albums….

Freddie Gibbs & The AlchemistAlfredo

Freddie Gibbs and The Alchemist both solidify themselves as two of the most consistent artists in hip-hop with Alfredo. Gibbs’ rapping and flow are flawless while The Alchemist’s beats are smooth and his sampling is completely on point throughout. Opener “1985” may be the best opening song to an album I’ve heard in 2020, as the blaring guitar and Gibbs’ relentless attack approach to the lyrics makes me want to hit play over and over again. The lyricism is what you come to expect from Gibbs, which is not a knock at all, as he raps about cocaine, the dark sides of the street and mixes in his trademark dark humor. He also has more social commentary, as on “Scottie Beam” he ominously raps his execution may be televised, highlighting the systemic racism in the country. All the features on this album fit well, especially Rick Ross and Benny The Butcher (I definitely want to hear Gibbs and Butcher together again). This is a pretty great project and for many artists this would be amongst their best, but Gibbs sets the bar pretty damn high with previous projects like Piñata and Bandana. So I guess you could call this 9/10 album slightly down for Gibbs as hilarious as this is to type. But seriously don’t sleep on this album, as it’s one of the best you’ll hear out of hip hop in 2020. Light 9/10

Run The JewelsRTJ4

Unfortunately this album just flat out bored me and I just lose more interest in it as I delve deeper into it. It certainly has nothing to do with the messages, as they’re timely, important and should be heard. But every other aspect of this project feels like I’ve heard it before from the duo and it was better. While I rated Run the Jewels 3 quite highly, admittedly it didn’t hold up as well as time has passed. I thought it was due to the runtime. But now after listening to RTJ4, the issue is clearer. The delivery, approach and style of the lyrics have simply waned for Killer Mike and El-P. On Run the Jewels 3 they covered over a lot of this because it wasn’t as prevalent like it is on this album and quite frankly the beats were much more interesting and varied on Run the Jewels 3 (there’s not a single beat on this album that comes as close to being as interesting or cool as “Panther Like a Panther”). 

Not to mention the idea well feels empty on this album. Nothing feels new, it all feels the same and maybe that’s the point on how injustice in this country never changes, which is the reoccurring message of this album. But I feel like this album is all about great messages and the songs themselves are an afterthought. As I’ve continually said, great messages won’t be heard if the songs themselves aren’t interesting or good. Run the Jewels 3 managed to deliver timely messages behind great music. And this album seems to forget the latter. That’s largely the conclusion I come away from with this album: the music just isn’t as interesting like the previous three records. Light 5/10

Diplo/Thomas WesleyChapter 1: Snake Oil

I’ve talked about before how electronic and country will eventually be fused together more and how it will become a more prevalent sub genre (for better or worse). So I was actually quite excited to hear that famous electronic producer Diplo would be trying his hand at a country album. The ultimate result? Very hit and miss for me. What works: “Heartless” with Morgan Wallen is surprisingly something I’ve come to enjoy. The delivery of Wallen gives the song an infectious urgency and the drum machines are actually utilized in a way that makes the song enjoyably catchy (so many from the pop genre completely bastardize drum machines and make them a torturous ear worm). The unlikely team up of Thomas Rhett and Young Thug on “Dance with Me” is fun, although I would have liked to have heard more from Young Thug. “On Me” may be my favorite though, as Noah Cyrus delivers a memorable vocal performance. “So Long” and “Heartbreak” are solid tracks too.

What doesn’t work: The Jonas Brothers are good pop artists but don’t belong anywhere near a country record and “Lonely” doesn’t feel country in the slightest. “Do Si Do” has a good idea on paper but it’s bone dry and boring. Julia Michaels continues to prove she’s one of the most boring artists in music today with her appearances (her voice is the music equivalent of paint drying). “Hometown” is your standard generic, mediocre pop country that I’m not shocked Zac Brown signed on to take part in (it would fit nicely on his garbage solo album). And the inclusion of Diplo’s remix of “Old Town Road” is well…Diplo says it best in his interview with Apple Music: “We just added this on because it was on Columbia.” Hey, at least he’s honest! And I appreciate that he admits this album is a bit incoherent (because it definitely is). So while this is by no means a great album, it shows flashes of potential and makes me want to hear what he has in store for the next album. Light 5/10

Gone WestCanyons

You know I had some hope for this group to be a fresh sound in the mainstream realm. Instead I’m not entirely convinced this isn’t Gloriana but they somehow added former pop star Colbie Cailat as the new front-woman. This is just dull, generic pop country album in a sea full of so many albums that already sound like this. Don’t bother with this/10

Jimmy BuffettLife On The Flip Side

Well I’m not sure what I expected listening to this. It’s a Jimmy Buffett album. If you want light beach music this is it. I imagine this is best enjoyed while drinking a few on the beach. It’s five o’clock somewhere/10

Gabby BarrettGoldmine

While lead single “I Hope” is an enjoyable revenge ballad in the same vein as Carrie Underwood’s “Before He Cheats,” the rest of this album is unfortunately your average pop country mediocrity. Barrett really doesn’t establish a unique sound or identity with this album and instead teeters between bad Underwood impersonation and radio bait. Solid 3/10

Blackberry SmokeLive From Capricorn Sound Studios EP

As always an enjoyable listen from one of the best rock bands in music today. Although I will admit I hoped to enjoy this more. While I enjoy the guest vocals of Jimmy Hall, I would have liked to have heard more from Charlie Starr on lead vocals. But it’s a minor nitpick on an otherwise pretty good EP. Light 8/10

Hill CountrySelf-titled

I’ve seen a lot of buzz about this album and Luke Combs even gave this group a shoutout. So I had to check this out even though I found Zane Williams’ solo output to be hit and miss in the past. Ultimately this is a country album that does nothing spectacularly but it does nothing wrong either. It’s an enjoyable mixture of country, roots rock and bluegrass that has something for all types of country listeners. It’s breezy and accessible music that represents a solid start for this new group. 7/10

Khruangbin Mordechai

I find it difficult to get into instrumental music most of the time and even harder to review it. But Khruangbin is easily an exception to this rule. I had never heard of this group until their excellent collaborative Texas Sun EP with Leon Bridges earlier this year. I’m so glad I found them, as I’ve now listened to their entire catalog after hearing the EP. Even better that they’ve dropped even more music with new album Mordechai. While I wouldn’t put it at the level of their great, southwestern-flavored 2018 album Con Todo El Mundo, this album is another pretty damn good record from the trio. This album centers mostly around a groovy, psychedelic funk sound with tinges of disco and jam pop mixed in at times. The band also surprises by mixing in some vocals on this record and they actually work pretty well. Most importantly they don’t detract from the hypnotic sounds of the band, which will always be the focus and strength of the group. If I had to pick my favorites they would be “Time (You and I)”, “Father Bird, Mother Bird” and album closer “Shida.” The latter is probably the top song for me, as the bass line is simply flawless. And if you’re looking for a relaxing album, you will be hard-pressed to find one more chill than this one in 2020. Solid 9/10

Eric Church — “Stick That in Your Country Song”

Finally I have to of course comment on the lead single for Eric Church’s upcoming new album, “Stick That in Your Country Song.” Without a doubt Church has been one of the best artists in country music for the last several years, as both Mr. Misunderstood and Desperate Man were fantastic albums. So he easily has the clout and respect to drop a song that’s basically calling out lazy songwriting and pandering bullshit being released by all kinds of artists in the industry. Church has been a bit more understated and introspective on his last two albums, so he was due to bring back the fiery, passionate side. 

The results are pretty good, as Church brings an infectious energy in all aspects. The lyrics are as subtle as a hammer to the head and get the point across pretty well, while also bringing attention to what needs to be heard more in country songs. It’s interesting how Church did not have a hand in writing this song, as this is not only a rarity for him, but this song also fits him perfectly. While I’m not fond of country songs that focus on if something is country or not these days, this song is not really about being country, but rather demanding more from his fellow artists. And he’s absolutely right to call them out for this. Once again I’m excited for another Church album!

Country Perspective’s Top 10 Albums of 2019

Back in the day, Country Perspective would spend around a month doing end of the year posts, recognizing the best and worst across several categories. While it was fun in a way, it was also quite tiring. And I imagine it had to be quite tiring for the reader too. After all I imagine you read several other music blogs and year-end posts. Speaking also as a reader of many blogs, it gets old after reading so many of these posts when really these things have two major points: 1) Giving proper recognition to the absolute best in music and 2) Giving you the listener a potential new album/artist to listen to. Plus, it’s fun to compare lists.

So with my lack of interest in doing so many year end posts and this blog having it’s major focus on albums, this is going to be the only best of 2019 post, the best albums of the year. It was a pretty good year for albums, as there were so many good ones across multiple genres. While there were some disappointments that stood out for me, pleasant new surprises more than made up for them (you’ll see some of them made the top 10 even). While it certainly didn’t touch the best years of this decade (hello 2014), 2019 is one of the better years of music in the 2010s (I’ll be doing my best of the decade posts in 2020).

But before I get to my top ten albums of 2019, I want to list some honorable mentions that weren’t quite good enough for the top ten, but still good albums that I recommend you check out…

Honorable Mentions

Country Perspective’s Top 10 Albums of 2019

10. Benny The Butcher – The Plugs I Met

Dirty, grimy and nasty is how I would describe the sounds and lyrics of this album. And I love it! The entire Griselda hip-hop collective is fantastic and rightly getting their due now that they’re signed to Eminem’s Shady Records (check out the album they dropped in November). But the star is undoubtedly Benny The Butcher and this album is the proof. All of his work is great, but this is an excellent entry point. When the king of coke rap in Pusha T endorses your coke rap (dropping a great feature on this album too), well you know you’re doing something right.

9. Cody Jinks – The Wanting

While I wouldn’t put the The Wanting as Cody Jinks’ best work, it’s certainly close and features maybe the most badass album cover of 2019. This album offers deep introspection on life, passion and love. The instrumentation is varied, going from slow ballads to rockers. And he did this all while dropping another album the week before that just missed this list. Jinks is undoubtedly one of the hardest working artists in music today and I was impressed by what he accomplished in dropping two great albums within a week of each other. If you’re someone looking to get into country music, Jinks is one of the first you should check out.

8. Dee White – Southern Gentleman

This album was released all the way back in January, but you should not forget about it. Dee White proves himself to be one of the most promising new country artists to watch with his debut album Southern Gentleman. White’s voice evokes memories of Roy Orbison and George Jones and he’s only 19-years-old. And while he feels like a classic artist in every sense, his lyrics are still modern. There are several great storytelling moments on this album and White even holds his own with fantastic vocalists like Ashley McBryde and Alison Krauss. I can’t wait to hear more from Dee White.

7. Tyler Childers – Country Squire

Country Squire is an incredible album and with its perfectly short run time, you’ll find yourself replaying it again and again. While some were disappointed by this follow-up to Purgatory, I was instantly impressed with this album. What’s great is these are old songs that have been played by Childers live for years and with live music being what pays the bills for artists, it only makes sense to record these songs. While we’re still due for Tyler Childers’ absolute best work, this is a pretty damn good album to play while we wait for it.

6. Michaela Anne – Desert Dove

Michaela Anne delivers an amazing album in Desert Dove. It’s full of smooth and breezy songs that only take a couple of listens to truly enjoy. Like my good friend and fellow music writer Zackary Kephart says, this album is quite similar to Kacey Musgraves’ Golden Hour and that was my top album of 2018. So if you enjoyed that album, this is a must-listen. This also feels like Anne’s breakout moment, as she finds the sound and themes she needed to truly show her full potential and prove herself as an artist that should be on your radar if you love country music or just great music in general.

5. Kishi Bash – Omoiyari

Omoiyari is a wonderful album full of beautiful lyrics and sounds that cover an important topic in American history that more people show know about. Why Kishi Bashi is not more covered by music journalists I’ll never know, but this music reviewer is telling you that you need to check him out. He’s a multi-instrumentalist who writes his own lyrics and can cover a wide variety of sounds so damn well. On this album he masters the chamber pop/orchestral pop sound while giving you an informative history lesson too. As a music nerd and history nerd, it’s a double win!

4. Mike and The Moonpies – Cheap Silver and Solid Country Gold

So I would be remiss if I didn’t point that my top four is clearly ahead of the rest, being that they all received 10/10 ratings, with each at one point or another getting consideration for Country Perspective’s 2019 Album of the Year. And out of all them, this was my biggest surprise of 2019. Mike and the Moonpies deliver something special with Cheap Silver and Solid Country Gold. It’s fantastic in both sound and songwriting. The group clearly left their comfort zone. It honors the tried and true, while delivering something that feels new too. This is a band for me that went from releasing two albums I couldn’t get into at all to releasing an album that I can’t find a single fault in.

3. Freddie Gibbs & Madlib – Bandana 

I found hip-hop in 2019 to be pretty disappointing. But I never find the work of Freddie Gibbs and producer Madlib to be disappointing, as this duo once again delivers big with Bandana. After delivering a classic in Piñata, they manage to nearly match it, which absolutely blows my mind. Gibbs raps his ass off on this album, delivering some of his best bars ever, while finding a great balance of bangers and humor while also offering introspection on more serious topics like when he was falsely accused of rape and systematic racism. Madlib brings some of the best beats in the game, picking some excellent samples as he always does. If there’s one hip-hop album you listen to this year, it’s this one.

2. Sturgill Simpson – SOUND & FURY

SOUND & FURY from start to finish feels like one long song, as it’s both cohesive in sound and lyrics, telling several stories that tie into overarching theme of Simpson being angry at a lot of things in the world, but when it comes down to it he’s most angry at himself and what he let himself become. Each track explores the flawed thoughts and actions of a flawed man. This album sounds like early to mid 70s music and sounds like the eccentric, frenetic sounds of Jeff Lyne and Electric Light Orchestra meets the in-your-face, sneering lyrics of Creedence Clearwater Revival. The amount of care and detail given to every aspect makes this one of the best albums you’ll hear in 2019 and yet another excellent album from Sturgill Simpson.

Country Perspective’s 2019 Album of the Year…

1. Carly Rae Jepsen – Dedicated

If you still think of Carly Rae Jepsen as just the “Call Me Maybe” girl, well you’re just plain wrong. Because when she released Emotion and Emotion Side B, she showed me that there’s not a better pop artist making music today. Jepsen further proves with Dedicated that she just gets pop music: the over-the-top production, the overwhelming emotions, the catchy hooks, exciting themes and everything in-between. It’s appropriate she has an album named Dedicated considering she writes hundreds of songs for each album and spends months culling down to the final track list. This true dedication to her music shines through on every lyric and sound on this album. It’s a complete album from front to back, touching on the several emotions of love through the many trials and tribulations of a relationship. And it wouldn’t surprise me a bit that the “B cuts” for this album are equally as great in quality. Not only is this the best album of 2019 in my mind, but one of the best of the 2010s.


Thanks for reading! Be sure to weigh in with your thoughts on Country Perspective’s Top 10 Albums of 2019 below and feel free to offer your own list. Also feel free to ask me about any music releases/news from 2019 too (think of it as a 2019 music AMA), as my late start didn’t allow me to discuss everything I would have liked to discuss.