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Review: Juicy J's 'Stay Trippy' Is The Embodiment Of YOLO

Stay Trippy is what celebrating a win feels like

Somewhere in America, a shaded (and faded) Jordan Houston is reclined in the crevice of a strip club counting his stacks, sipping on a double cup and nodding to his booming backdrop music with a smirk. It's been one hell of a year for Juicy J, and he's jogging the last leg of a victory lap that seemingly came out of nowhere. The 39-year-old ball of charisma first made a name for himself with the group Three 6 Mafia, who birthed hits "Tear Da Club Up," "Sippin' on Some Syrup" and the Academy Award-winning "It's Hard Out Here for a Pimp" at their prime. But when Columbia Records shelved the Memphis collective post-Last 2 Walk (2009), things got relatively quiet for Juicy. Then came 2012. At the hands of wunderkind producer Mike Will Made It, Juicy's unexpected smash hit and first single "Bandz A Make Her Dance" became a defibrillator, giving a pulse to a music career that most assumed died with Three 6.

It's been an upward spiral from there. How's a man living the rockstar life to react? Why, party harder, of course! "Bandz"—which cracked a top 40 spot on the Billboard Hot 100—escorted an eager Juicy J back into the limelight as a soloist, and just like old times, he's brought his AA intervention-boasting habits with him. Juicy J’s Stay Trippy celebrates his Mama-I-Made-It moment hundredfold, using the vices that brought him here as a medium.

Juicy has grown up a lot since his last solo effort, or rather grown richer. Whereas Hustle Till I Die (2009) was an exhausting catalogue of unimaginative posturing and empty threats, Stay Trippy is audibly influenced by the flair and frills of luxury that’ve since become his norm. Twenty years is a long time to be in the game (he'll remind you of this numerical tidbit for at least half of the album) and he's proud of his newly verified longevity. Imagine just how much living he's done to make up for lost time. His YOLOism is vividly reflected in his third solo release, which is equal parts hood rich, flossy and overindulgent, and is glorious in all its ratch. From the album cover alone—a gleeful and paint splattered J clutches a champagne bottle as a babe clutches onto him—you know you're in for a good time.

Staying true to his well-evidenced Hedonist nature (remember, you say no to ratchet p*ssy, Juicy J can't), he makes sure to pour his pleasures on you like a shaken bottle of bubbly. Guap, the trap, drugs and freaky women are Stay Trippy's center of gravity. “Living like a rock star/I’ve never been sober bruh,” he boasts on “Smoke Rollin'” over the dizzy, warbly emoting of Weeknd's “High For This.” He tells no lies here. There isn't a sober moment on Trippy, as all the usual culprits—codeine, lean, molly, kush, crack, Xanax—are heavily weeded throughout 16 tracks. The chipmunk soul-esque “Wax” (which samples Freda Payne's "I Get High [On Your Memory]") wastes no time in telling you that Juicy wants us to get on his level. “Let's get high, let's get stoned/Take a hit of this and you won't make it home,” he raps.

Aside from a lack of sobriety and the cash necessary to pay for such inducers, a staple in the lives of the rich and famous are the women, most of whom will only be partially clothed. "Your baby mama is not a 10 but when I'm drunk she close enough," he confesses on album kicker "If I Ain't." To thoroughly enjoy Stay Trippy, it’s imperative that valid ideologies such as feminism and misogyny get tossed out the window, although it's a tough task when statements like "She treat my dick like a pistol/I treat her face like a target" and "I can turn a church girl into a stone cold slut" ("So Much Money" and "Money A Do It," respectively) exist within the mix.

Never mind Juicy J's chanty, sometimes seesaw 2+2=4 flow and self-described "short bus" swag (not sure if this should even be functioning as a compliment). While the album may catch a bit of flack for a lack of topical diversity and its lyrical simplicity, Juicy J and Three 6 Mafia devotees will find pleasure in its sonics. The album's strengths lie in Juicy's ability to harness the enhancing powers of a feature. Stay Trippy—whose executive producers are pop mastermind Lukasz "Dr. Luke" Gottwald and Taylor Gang maestro Wiz Khalifa—has a crowded guest list. Aside from habitual hit maker Mike WiLL Made It, producers Lex Luger, Young Chop, Timbaland, The Weeknd, and Danny Boy lend their services. His all-star guest roster merges Wale, Pimp C, Trey Songz, Yelawolf, Wiz Khalifa, Big Sean, Young Jeezy, Justin Timberlake, Chris Brown, Lil Wayne, 2 Chainz, A$AP Rocky and his brother Project Pat. Despite the wild assortment of flows and flavors, Juicy J manages to avoid being eclipsed on his own project (ahem, Big Sean). Their presence only amplifies the quality of his offering, a hypothesis that is reinforced by three of the album's standout pieces.

Young Jeezy and Big Sean join Juicy on the menacing "Show Out," another item in Mike WiLL's portfolio. The second single sounds its best played at window-rattling, Meek Mill decibels, allowing the pulsing bass to disturb school crossing zones. Stay Trippy's most jazzy collaboration is track 10, where one of the best reps of blue-eyed soul takes us into "The Woods." Justin Timberlake seems to borrow the concept of lovemaking in the wild from Frank Ocean's "Nature Feels." Timbaland's smooth, nimble handiwork and built-in interludes make the cut seem like it would fit just as well on a JT disc. Harlem's own pretty muthafucka A$AP Rocky adds some finesse to the album's latter half on "Scholarship," where he and Juicy encourage budding scholars to twerk for their college funds. The song even prompted a brief campaign to find the best-qualified award recipient (Smh).

Whether his songs are inappropriate or not, they're infectious enough to have any girl convinced she's the third member of Atlanta’s notorious short-short donning Twerk Team. It's all in good fun. Besides, it's going to be hard to rain on Juicy J's parade. His recent success is well earned and he's proud of the party life that's gotten him this far. "I told 'em Bandz a Make Her Dance and turned my head, that shit charted," he raps. Charted he did. Celebrate he will. —Stacy-Ann Ellis (@stassi_x)

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Review: Jessie Reyez’s Expressive EP Proves There’s Beauty In ‘Being Human In Public’

Jessie Reyez’s recently-released EP Being Human In Public proves that the Toronto musician’s fiery exterior comes with a cool, introspective center. Her 2017 EP Kiddo introduced her to the world as force who was willing to “go there” by singing about major issues like sexual assault and emotionally abusive relationships. This time around, Reyez muses about the softer side of love, displaying her flexibility within the overarching theme.

Much of her latest EP, which dropped Friday (Oct. 19), pertains to the wide range of emotions that come with romantic appreciation. Thanks to her animated performance ability, Reyez encapsulates the complex gamut of the strong emotional state; there’s longing, anger, confusion, confidence and so much more. The 27-year-old songbird’s vocal versatility has gained fans like Kamikaze collaborator Eminem and Aerosmith’s Steven Tyler, and her attention-grabbing abilities are showcased throughout the multi-dimensional seven-song project.

Reyez’s true vocal gifts shine through when paired with more demure production, evident by the EP’s starting track “Saint Nobody” and the stand-out love anthem “Apple Juice,” produced by Tim Suby and Fred Ball. Her effortless falsetto notes at the duration of the aforementioned song are a melodic combination with the strings that finish out the track.

Perhaps the song that best displays Reyez’s tender core is “Sola (Interlude),” which is sung entirely in Spanish. She coos over an acoustic guitar to a lover about how she’s not necessarily the type of woman they should be with—she would be better off sola (alone). The result? A heart-wrenchingly relatable track that could have served best as the EP's stunning finale.

“I'm not the type of woman that your mother wants to see you with,” the lyrics translate to. “I could never please you...I'm an eagle, flying alone.”

While the content throughout Being Human In Public is rather profound in nature, Reyez makes sure that her signature unapologetic delivery to tackling topics through her songwriting is also highlighted. Thanks to assistance from budding music sensation Normani and Grammy-nominated R&B singer Kehlani on the “Body Count (Remix),” all three singers’ stances on body positivity, sex positivity and all forms of love are highlighted.

Additionally, the straightforward “F**k Being Friends,” which is slightly reminiscent of her quirky Kiddo track “Shutter Island,” deals with the occasionally murky divide between courtship and friendship. “My p***y beat better than my heart do?” she sings, “so why you p***y-footin’ on this part two?”

“In every aspect—in my music, in my life—I’m going to be straight with you, and I tell people too, I’m like that,” Reyez told VIBE in April about the importance of being upfront. “I need you to just tell me direct, because if the roles were reversed, I’m the type to tell you direct.” Love is one of the things that connects all of us as people, and if you can’t be real with that, what can you be real about?

Reyez makes sure that her honesty on wax is as plain and simple as it is in her personal life, and Being Human In Public is an audibly-pleasing extension of her personal beliefs and values.

READ MORE: NEXT: Behind The Extraterrestrial Voice, Jessie Reyez Is Human Like The Rest Of Us

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Lupe Fiasco performs as part of the benefit concert, 'Power To The People' at Coliseo Jose M. Agrelot on March 18, 2018 in San Juan, Puerto Rico. (Photo by Gladys Vega/Getty Images)
Photo by Gladys Vega/Getty Images

Lupe Fiasco Eschews Label Drama And Controversy For Ambitious 'Drogas Wave'

In the early 2000s, JAY-Z called Lupe Fiasco “a breath of fresh air” for rap. Most of the hip-hop world agreed. He delivered a standout verse on Kanye West’s “Touch The Sky,” and a well-regarded Food & Liquor studio debut that led rap fans to saint him as an imaginative, skilled lyricist, adept at weaving storytelling, social commentary, sustained metaphors and technical precision together in an A+ package. Unfortunately, it didn’t take long for that figurative breath of fresh air to become a sigh.

While crafting his third album Lasers, he began having creative differences with his former label Atlantic Records. Though the album was eventually released — after his fans literally petitioned for it — the struggle derailed what seemed like his inevitable trajectory to the heights of music that stylistic peers like Kendrick Lamar and J. Cole now occupy.

Lupe’s known in part for his sophomore album, The Cool, but it seems like a good stretch of his career was more defined by the frustration. In 2018, though, Lupe’s finally on the right wave — the Drogas Wave. Lupe dropped his first independent album last week, a 24-track conceptual piece dually exploring the drug trade and the transatlantic slave trade that cap-stoned his own trade of Atlantic Records for artistic freedom.

I really only did this album for solid Lupe fans. The PhD’s in Lupeism. It’s in no way for new fans, the casual listener, record sales, the year 2018 or radio. Just the core fans to have a ball with. https://t.co/N76F5YAeDJ

— “DROGAS WAVE” NOW PLAYING (@LupeFiasco) September 26, 2018

He’s always been a master of conceptualization, weaving thematic, if not narrative-driven connections from verse to verse and song-to-song on albums like Food & Liquor, The Cool, and Tetsuo & Youth. Drogas Wave is among his most ambitious work in that regard. The album, which he’s said was made specifically for his “core fans,” ideates what the rhymer called an alternate, fantastic history of the slave trade in which a group of Africans jumped off a slave ship, survived underwater, and spent their new lives sinking subsequent slave ships.

But he still delves into the reality of what happened on songs like “Manilla,” where he sheds light on the currency that European countries used to purchase slaves from West Africa to build so much of the western world. Looking to unite black and brown people across the Americas, Drogas Wave shows him representing for three communities of African descent cultivated in spite of western colonialism: Latinos, West Indians and Black Americans. He rapped fluent Spanish on “Drogas.” He collaborated with reggae royalty Damian Marley on “Kingdom” and rhymed in patois on “Gold vs. The Right Things to Do.” On the thrilling “King Nas,” he dedicates some of the project’s most impeccable rhyming not to God’s Son, but his two young nephews King and Nas who are coming of age in a treacherous environment for all black people in America.

The album was well-crafted and laden with thought-provoking, research-worthy bars examining the scourges that plunder black and brown communities, but it wasn’t flawless. He utilized over a dozen different producers on the project, which resulted in a few compositions that are less compelling than others. There are also choruses by Nikki Jean on “Down” and Troi Irons on “XO” that felt a tad too eager for mass appeal. But even on those tracks, the invigoration and dedication that Lupe rhymes with make them worthwhile listens.

Drogas Wave shows Lupe on the right track. While so many of his fellow rap veterans were ravenous publicity hounds this year, he spent his online time on Instagram Live, dropping what he called “super facts” about the fallacy of white supremacy and the music industry. He also apologized to people he’s insulted like former President Obama, Childish Gambino, Kendrick Lamar, and others. Throughout that March apology session, he ended his statements with variations of, “I should have kept that to myself.” Perhaps he’s now in a space that he should have been his entire career: independent and letting his incredible lyricism speak for him.

Lupe always has wisdom to impart, but like his Chicago comrade Kanye West, he doesn’t always communicate his thoughts in the best way. Over time, he developed a reputation for being an easily agitable presence on Twitter. He’s gotten into arguments with Kid Cudi, Azealia Banks, and several others. In 2013, he derogated Donald Glover as a “Black” instead of a “n***a” for arbitrary reasons.

In 2014, when Australian rapper Iggy Azalea was being accused of cultural appropriation because of her put-on “Atlantastralian” accent and racist lyrics, he defended her by saying she had “a space” in hip-hop. That comment made him one of the first victims of the dreaded social media “cancel,” and he lashed out with his own tweetstorm. He tweeted, “b***h I been here on the rooftop screaming in the ears of these brainwashed a** more money on they feet than in they pocket a** n***as,” and also proclaimed, “I'm here...kick pushing you ignant a** n***az and fast trout mouth a** b***hes all the way to the promised land kicking and screaming h**.”

His retorts were based in truth, but sometimes, brutal honesty is just brutality. The tweets typified why Phonte infamously likened Lupe to The Newsroom as a “technically brilliant show that would be a lot smarter if it stopped trying to show people how smart it was.” Compared to Q-Tip’s thoughtful hip-hop treatise to Iggy, Lupe came across like a know-it-all. But at the base of his anger was a frustration with being misunderstood. He incredulously groused, “I thought I was one of the good guys.”

The son of a Black Panther, Lupe had always delivered anti-establishment messaging in his music that hampered his budding status as the “Superstar” he rhymed about in 2007. In 2011, when most of mainstream hip-hop was deifying Barack Obama, Lupe was telling CBS that “the biggest terrorist is Obama and the United States of America” based on America’s warmongering throughout the Middle East, South America and Africa in particular.

His ire toward the country’s tyranny inspired an awkward, 30-minute rendition of the Obama-critical “Words I Never Said” at an inauguration party in D.C., which the show’s organizers called “a bizarrely repetitive, jarring performance that left the crowd vocally dissatisfied.” Songs like his “American Terrorist” series display his analytical acuity when it comes to diagnosing the roots of systemic oppression and its consequences, but at that point he seemed unable to properly convey his intellect outside the booth.

Lupe has said that he felt he was “immediately blackballed” after his Obama comments. While Lasers had sold 204,000 copies in its first week, 2012’s Food & Liquor II: The Great American Rap Album was Grammy-nominated, but sold just 128,000 records overall as of 2012. His aforementioned Twitter antics were overshadowing his lyrical gifts, his attempts to drop knowledge were being mocked or misunderstood, and worst of all, he couldn’t release music on his own volition.

He told Power 106 in August 2014 that he was “worn down” by the “nonsense” of dealing with Atlantic, and that “we’re just trying to get albums out just to get off the label.” Months earlier he told Torae that, “I don’t have a 360 deal,” so “since they can’t eat off my merchandise or my publishing or my touring they treat me like a third-class citizen.” Still, he resolved, he’d ”fight through it.”

That determination defines him. While discussing “Mission” from 2015’s Tetsuo & Youth, he reflected, “I’ve been inspired by those who are surviving, thriving and fighting.” Just like he’s been fighting to thrive, in spite of label woes, the backlash from subversive beliefs, and self-sabotage that collectively tarnished his mainstream standing. Others artists have let the industry consume them, but Lupe’s still here, rekindling a musical brilliance that his fans knew he was capable of.

On Drogas Wave’s “Jonylah Forever,” a poignant song that ideates 6-month-old Jonylah Watkins, shot dead in 2013, as an adult, he rhymed about how “the coolest thing is when they offered you that high paying slot, you replied ‘they need me in the hood,’ and that's where you reside.” He then talked about her saving a shooting victim, rhyming, “and in that moment, where you gave your help/I bet you didn't know that you saved yourself.”

That powerful summation also applies to him, as an artist who helped others see the light while vying to keep his own spirit alit in a music industry that he mentally “quit” on a decade ago. He told Billboard in 2015 that “I'm happy being that somewhat sophisticated, overly deep weird guy making powerful music — but just two or three degrees away from the center of attention.”

Einstein once mused that, “creativity is intelligence having fun.” It didn’t seem like Lupe was having much fun as a major label artist. But after fulfilling his obligations to Atlantic with Drogas Light, and releasing Drogas Wave independently, he’s revitalized for the next chapter of his career — on his terms.

He recently stated that there would be no interviews for this album cycle because, “I’ve never seen myself as a star and I still don’t.” That makes sense. Stars can’t see themselves, it’s only us spectators who experience the fascination of watching them hover.

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Jack McKain

When It Comes To Both Sound And Sartorial Matters, Masego Has Upgraded To Silk

With his new album 'Lady Lady,' Masego strides into grown and sexy territory.

Masego is a silk man now, or so he tells me. He’s just shaken off the water from his body length PUMA coat, where a committed Reykjavik crowd braved an Icelandic “summer” rainstorm for him. Plastic bags are tied securely over his flashy sneakers, because he isn’t messing them up in the visible mud puddles cratering the city’s Laugardalshöll sporting grounds.

It’s a far cry from when we first met in Brooklyn, New York two years ago, where the then-22-year-old was pigging out at Peter’s Since 1969 before a packed Webster Hall show (R.I.P.), dressed in a multicolored velvet robe, busy blue Hawaiian shirt and basketball shorts that matched neither.

He’s almost embarrassed at the memory. “Why did you allow that?” he asks now, shaking his head. “I wanted the cover of The Fader and that's what I thought it would take. I was trying to out-weird n***as.” Masego, now 25, has not only learned from his sartorial flubs, but has overcome the mild insecurities that inspired them. “I was in this weird battle with people I didn't know and then I started to get more comfortable,” he says. “Get that silk.”

Masego 2.0 is upon us, and his grown and sexy debut album, Lady Lady, is the proof in the pudding. Right from the jump of the 13-track project, released on Sept. 7 (an admittedly somber day for music lovers), the “Silk…” opening instrumental makes it crystal-clear that his intention is to soothe and to woo.

His charm and playful sensuality come to the forefront on smooth tracks like “I Had A Vision,” the SiR-assisted “Old Age” (which also features Instagram comedian Renny) and the freestyled “Queen Tings” featuring SiR’s cousin, Tiffany Gouche. However, hip-hop and trap fans aren’t left out of the equation. Cuts like “Shawty Fishin (Blame The Net)," and “Lavish Lullaby” pair slick bars with enough knock and bass to soundtrack road trips as well as coax wallflowers onto the dance floor with a partner.

In the time between the release of his 2016 freebie project, Loose Thoughts, and now, Masego has seen some world. Frequent exposure to different pin drops across the globe and the creatives who live there bolstered his sound in exciting ways, giving way to some of Lady Lady’s standout selections. It’s an understatement to say that the LP’s instrumentation and production handiwork magnify his spotlight.

Take a look at the album’s supernova of a single “Tadow,” brought into full fruition during a jam session with French multi-hyphenate musician, FKJ. “I feel like the overseas travel is the inspiration. It kind of builds up and then when I get a chance to sit down, it just comes out,” he says. “I knew I was going to South Africa and then I sat down and we just free-styled, planted some beats, making stuff and then ‘Queen Tings’ was just freestyled. With ‘Tadow,’ on the plane ride to Paris I was watching a Fresh Prince marathon. You know the one where he slept with Janice? That was mad funny to me so that was the last thing in my spirit.”

Then on the album’s slow-burning title track, full-bodied lyrics are an afterthought. Instead, sensual scats and truncated mutters carried along the notes of his sax dim the lights, while velvety vocals crook the finger at his lady-to-be. "If you classy but you're reckless/Then you gon' get choose a necklace, lady lady," he coos, no stranger to slick talk.

“Everything kind of goes back to my uncles,” he says, reflecting on how the idea for “Lady Lady” came about during a family visit. “After going to Jamaica, I understand why they're so cool naturally. My Southern uncles, they got this Southern respect and there's a more pimp-ish side to my father's side and so that kind of comes together with ‘Lady Lady.’ It’s like ‘Lady Lady’ could mean… it’s like almost saying, ‘Hey love.’ It could be a potential love on that level or 'this my girlfriend,' you know what I'm saying?”

Within his short career, Maségo has remained unmarried to just one scope of music. The singer-songwriter and saxophone savant floats between jazz, hip-hop, and R&B (and the occasional trap) from song to song as freely as he pleases, but he's in his bag the most when they meld together. In his eyes, Lady Lady is the perfect cocktail of that, showcasing his creative maturation and slight pivot from the Pink Polo EP-era Masego fans are used to. “After my glow up stage is done, I want to just go off wherever Adele is chilling right now,” Masego jokes. “I want to like just be in the thick of things. I think [Lady Lady] is going to be lovely in the sense of it’s going to give you that next threshold."

READ MORE: Quincy Jones Gives Masego Advice On How To Become A Living Legend

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