Observations From Joey Purp's QUARTERTHING

As challenging as it is today to find more raw, grass-rooted hip hop that sounds grimier and more rebellious than your average Lil Yatchty (for lack of a better example) album, Joey Purp is one of the few and the proud (the marines... ha, just kidding) adding onto the foundation of the sound that the 90's built. On 2016's iiiDrops, Joey established that he was a force the be reckoned with not only as an "album" rapper, but as an emcee, given the right platform. With features like Chance The Rapper, Saba and Mick Jenkins, Joey had already carved out a name with the big guns in the industry, and this time around, he's taking his turn at trading lyrical blows with legends (not to mention some [probable] production from them as well). While Joey had already earned respect from the old heads and emcees alike, the weakest link of Joey's song making abilities at times seemed to be making a song for the radio to play; to generate numbers and streams. And while I've always respected Joey's abilities as a pure rapper and have never cared for poppy hits, I was curious to see what Joey would bring this time around, besides the hard hitting bars that the Chicago emcee is primarily known for. And he did not disappoint. Check out observations from Joey Purp's QUARTERTHING below.


More Signature Hip Hop Joey Purp Sound Rooted In Dark Basslines, Menacing Keys, And Malevolent Synths

 
In terms of artists that actually define hip hop's origin as a genre and keep it alive right now, you can throw a couple of titans on that list (Kendrick and Cole), but in terms of the underdogs (or, for lack of a better description, the "less talked about"), Purp is leading the race. His raw emotion, intense voice, and tenacious delivery are signature qualities of Purp's, and QUARTERTHING shows all of those qualities, and more. On "Godbody Pt. 2", the follow up to 2016's "Godbody", and featuring what many consider a God among other rappers, RZA, Purp gives a (assumed) RZA instrumental the business with one of his signature bar heavy, lesson-bearing-types of verses that make it so easy for legends (such as the 2 featured on this album, RZA and GZA) to respect him for his talents and abilities. The live instrumentation of drums and symbols used throughout the (seemingly TOO short) song emphasize Purp's aggressiveness even greater. The title track ("QUARTERTHING") adds a robotic sound that somehow still embodies the original elements of hip hop with it's "simple and plainly" styled synthesizer, retro cowbells, and electronic thrashes. Purp's production has always been stand-out, and while it's easy to get caught up in an ominous vibe like "Godbody Pt. 2", a trap-based banger like "Karl Malone", or a cleanly sampled horn-heavy number like "Hallelujah", Joey always finds a way to make his words stand out more than the beat itself... which is another reminder of how powerful a voice Joey is.

Something For Everyone

                 
The hardcore hip hop rappers like Purp tend to stick to their general methods of song making and subject matter, such as drums loops and samples, but Purp's never had a problem with making a hit for an Apple Music playlist, or for the ladies to enjoy, and QUARTERTHING is Joey's most well rounded project yet. On "2012", Joey spits a rhythmic flow that blends in with the lightly keyed instrumental like a chameleon, talking his respective shit like a turd professor (bars). One of the most interesting cuts of the album, however, is the fast paced "Aw Sh*t!". Over an ever changing and evolving beat (which is impressive considering the length, clocking in at 2 minutes and 36 seconds), Joey creates his own version of a club/DJ mix; drums mixing, claps switching and turntables creating many voice tempo changes makes "Aw Sh*t!" a definite standout if not for it's catchiness, then for it's uniqueness in sound. Songs like "Bag Talk", "Fessional/Diamonds Dancing", and "Karl Malone" give listeners that bass-heavy, riding trap feel they may have been looking for, and the seemingly orchestra lead introduction "24k Gold/Sanctified" is a triumphant appreciation for the places we've come from; one of my personal favorites on the album, though we're about to talk about my favorite one... right now.


"Look At My Wrist" Is My Favorite Song On QUARTHERTHING

(*I do not own these songs, or the rights to them*)

The best song on this project, or maybe my favorite song on the project at least (that's a blurry line isn't it?  Since music is all subjective, nobody can really judge the BEST song on a project accurately), is the laser-sharp "Look At My Wrist". Joey spends his verses over a sinister synthesizer foretelling the complications and the troubles of the current state of rap, words spewing out of his mouth like venom. A high point of the track seems to be his ferocity in doing so, in some ways criticizing and almost satirizing the bodacious and braggadocios ways of rap, while also keeping his own style and swagger in verses. The hook certainly makes it known how Joey feels about the current state of rap ("damn look at my wrist dog, damn look at my bitch dog, damn look at my crib dog, damn look at how I live dog, damn I be getting fits off, damn look at my rims dog, damn look at my whip dog, look at all this fuck shit, tired of all this fuck shit," etc.), and while some listeners may view it as a preacher's point of view, the beat rocks speakers just hard enough to listen and not get nagged by the message. Appreciation points from me for Joey showing a little bit of grit and boredom with the current state of hip hop, and actually having the balls to say something about it.

Okay, so let's cue some corny puns with the album title. Joey's got a QUARTERTHING, but this album keeps it a buck. If this is only a QUARTERTHING, I can't imagine what happens when Joey gives us the WHOLETHING. It's like he forgot what the 25 cent piece coin is called and this album is the realization of him finally remembering (hence why it's in all caps). Okay, that's enough. If you end up reading this, sorry Joey. QUARTERTHING is another step in the right direction for Joey in terms of musical growth, and while some people may not necessarily enjoy the album sonically because of the lack of quote unquote "hits", I thoroughly enjoyed finally getting back to hearing some... (*attempts hardest not to say "real hip hop"*) genuine hard-nosed rap again. In terms of evenness, Joey blends everything together perfectly with songs for the car, songs for pumping you up, catchy hits and interesting samples; there really is something for almost everybody. I truly believe that in the slew of rappers trying their damnedest to keep the true and original aspects of hip hop alive, Joey Purp is on the forefront of those artists, yet his growth as a song builder and hitmaker shows more than the typical, one-dimensional "lyrical miracle" rapper. Joey is the total package; a hit maker, a song writer, a song crafter, and an emcee.