Since its announcement in January, Revenge of the Dreamers III has arguably been the most anticipated hip-hop release of the year. From the 300+ Willy Wonka-esque ‘golden ticket’ invitations sent to producers and rappers alike, to the ten-day time limit set on the recording of the album, since inception, its journey has been far from traditional. J. Cole has attempted to redefine the meaning of a compilation project. He described the album as an opportunity for lesser-known artists to showcase their skills on the biggest stage, and having a glance at the track list, this becomes obvious. After the disappointing release of DJ Khaled’s Father of Asahd, the onus was now on Dreamville to respond to the hype with a body of work that matches the anticipation attached to it.
The album is eighteen tracks long but runs only just over an hour. From top to bottom, the project is littered with short verses from artists who are very clearly trying to make a statement. On the opener, an aggressive Cole proclaims his financial and lyrical dominance in the industry, using clever metaphors to illustrate his argument. After a surprise uncredited chorus from Kendrick Lamar (as they both continue to toy with fans about a potential collaboration), the second verse is home to Dreamville signee – Lute – who continues to flex his rap muscles in a similar vein. 2019 breakout DaBaby also arrives with a tone in his voice as if he’s got something to prove - a trend that’s present throughout.
One of the most difficult things for Cole to master was finding the balance between participant and executive producer, and he does it superbly. The ten-day session became a perfect breeding ground for existing stars and revelatory performances from unsung artists. Down Bad features a collection of strong verses, a strangely short opener from Young Nudy, and an infectious hook performed by JID. LamboTruck is an entertaining listen. A modernised version of 50 Cent’s How To Rob, as Cozz and Reason interchange amusing verses discussing how they will rob their respective label’s bosses. The chorus is underwhelming, but it allows the verses to rightfully be the focus of the song.
EARTHGANG’s first appearance is on a cut off their upcoming album Mirrorland. The track, titled Swivel, has an early 2000s soul feel to it, and is a change of pace from the previous 3 cuts. Their potential shines through, as they ride the soulful beat with ease - another enjoyable listen. One of a few highlight verses on the album appear on the next song, Oh Wow… Swerve. Introspective Cole is the best Cole, and an album full of verses like the ones found here would go a long way to cement his status as an all-time great. A beat switch mid-way through the song signals the first time that a difference in rap skills is apparent. The Maxo Kream verse in the second half is largely forgettable, and the song would have perhaps been better off without it.
Guapdad 4000’s (yes, that’s his actual name) introduction is on the next song, Don’t Hit Me Right Now. His performance on the chorus is one of the highlights of the whole project. A silky-smooth performance, followed by equally silky verses from Bas, Young Baby Tate, Buddy and Cozz, results in this song encompassing what the project is all about. Every artist trying to prove why they deserve to make the final cut from the 150+ songs that were recorded during the sessions.
The next song, Wells Fargo, might just be one of the strangest rap songs I’ve ever heard. From the British accent put on by Buddy asking for his artillery in the introduction, to the chanted chorus proclaiming their plans of robbing a Wells Fargo. While it sounds like it was enjoyable for the artists to record, and it will likely be a highlight at live shows, it’s probably one to skip over in the car.
The next three songs represent a tone shift to a more poetic section of the album with a much more subdued atmosphere. Piano based instrumentals and stories recited in the verses. Lines such as ‘I told my city I'm the closest thing to hope’ hit hard, with the choruses equally as powerful. Self Love features a beautifully sung chorus from Ari Lennox, and a verse from Baby Rose that is reminiscent of the croons once heard coming from Nina Simone. Voices full of trembling emotion feature on this cut - definitely a highlight. JID and Atlanta legend T.I. flex their story-telling muscles, recalling relationships from their past on Ladies, Ladies, Ladies, a ‘part two’ of Jay Z’s Girls, Girls, Girls.
Costa Rica is another showcase of lyrical talent and a ‘hate it or love it’ chorus that I imagine will split opinions. JID is a highlight on this song, as he is on most of the songs he features on here. His charisma and humour interwoven throughout his verses are infectious, ending his contribution recalling an incident where he was confused for Swae Lee at the airport. 1993 is a weed smoking posse cut. Buddy cuts off each verse, treating the mic as a blunt. It’s a fun concept, and is executed well, with Buddy’s performance at the end of each verse a highlight of this musical hotbox.
Rembrandt...Run It Back involves Dreamville big-hitters Cole and JID, as well as Vince Staples. JID, as animated as ever, sounds like he’s ready to punch a hole in the wall, with Cole sounding unlike anything heard previously over the haunting keys playing in the background. A decent cut, but not one that will be instantly remembered. Sunset follows the subdued trap instrumental of the previous song with a similar conclusion. Cole’s intimidating delivery being the highlight here.
Got Me is perhaps the weakest song on the record. A slower RnB cut that has an unimaginative chorus, and lacklustre verses. Ari Lennox’s performance is emotive, and perhaps the only thing keeping this song from being a complete skip. Middle Child – the biggest song of Cole’s career, sticks out like a sore thumb on the ROTD III track list. The song itself is good, extremely catchy hook, and a great beat carrying the whole thing. But it’s been out for quite some time, and just doesn’t fit with the rest of the project. Its inclusion can only really be explained to boost streaming numbers if nothing else. PTSD is the penultimate song off the album. A lovely collaboration where each artist feeds off the last as they take turns reminiscing about better times. The instrumental complements the song perfectly, with the horns concluding things nicely.
The final cut off the album – Sacrifices – is hard-hitting and home to the best performances on the project. It’s the longest song on the album, with an infectious melody on the chorus, sung beautifully by one half of EARTHGANG. Like the opening verse on the album, the closing also belongs to J. Cole. He starts ‘you can’t be everything to everybody’. It’s a declaration from a man who lives to please those around him but feels he has fell short. The verse is dedicated to his wife, it’s some of Cole’s best writing, ever. He announces a second child, as well as all he wants to do to protect both his wife and his children. The second half of the verse is sung, it’s Cole at his most fragile and culminates an album that represents his life’s work.
While nearly every song on the album has something to offer, every verse doesn’t. J. Cole’s insistence on offering a voice to as many people as possible results in some songs demonstrating the gulf in quality and skill between the better artists on the record and the more forgettable ones. While at no point does the project feel like there are too many chefs in the kitchen, it does feel like the head chef allowed too many dishes to be served. The highs are brilliant, and the lows are easily skippable. It’s an easy trap to fall into with collaboration albums, but the best parts of the project are just about good enough for this to be a solid project, albeit not one that offers everything that fans perhaps wanted.
It would be unfair to compare DJ Khaled’s failures with Father of Asahd to J. Cole’s successes with Revenge of the Dreamers III. They both set out to do very different things. While one had a huge budget, and huge stars on every song, another focused on shining a light in a new direction. One attempted a number one album, while the other wanted to create a watershed moment for the culture it represents. Only one of the two reached number one, and ironically, it wasn’t Asahd’s Father’s.
ABOUT THE RECORD:
Release date: July 5, 2019
Label: Dreamville/Interscope Records
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