When Boldy James had the accident in early 2023, many were rightfully worried, but it wasn’t because they’d see a decrease in content; so when James slowly started getting behind the microphone, it was almost like he never lost a step, instead coming back stronger. Fans are glad to have him back, and more importantly, they are here for some quality records that continue to showcase what makes him one of the best from the upper echelon of the underground scene. After a solid tape with Nicholas Craven in early 2024, Boldy James returns with a collab tape alongside Conductor Williams, and that alone is enough to hit play quickly on Across the Tracks. Conductor has shown his formidable range producing for distinct artists, like “11am in Malibu” for Kodak Black or “8am in Charlotte” for Drake, whose sound is opposite that of Griselda’s, the collective he produces for. For Boldy James, the two come together and deliver crisp boom-bap hip-hop vibe while keeping its Detroit roots sonically forward through some of the Gangster rap-like bars and more. It’s Boldy James’ best since Bo Jackson if not better, all thanks to the fantastic energy and synergy emanating from both.
Off the jump, Boldly James and Conductor Williams emerge with a simple yet empathetic soulful boom-bap beat elevated by its luminous echoing vocals behind Boldy’s, which has this lingering pain emanating as he reflects through raw bars and emboldens this worldview that separates the haves from the have nots, or simply, if Boldy says he got mob ties he means it; unlike those in pop, so it’s less credible and intimidating coming from someone of Drake’s ethos. Though that isn’t a dig at Drake, it breaks down the elements that separate the two, especially the consistency via content, as he can balance tone between being braggadocio or on some real shit. It’s why “Terms & Conditions” and “All Madden” bring momentum gunning out; it balances the two tones, even if the latter can feel gimmicky to some via the Bo Jack feature. As he leans into more of the braggadocio nature, you get a straight heater like that of “Undisputed,” which weighs heavy on the reality while staying focused on how it started, like the contrasting chorus of this song or the spiritualized and emphasized flows on “Flying Trapeze Act” or delivering something reminiscent of that super lyrical Boldy on “Off – White Lumberjack.” The positives reign high.
Conductor William’s beats are a hot commodity, and not surprising since what he creates maintains firm with the instruments, never letting a sound go to waste like the bass on “The Ol’ Switcheroo” shining forward through some of its more stripped-down drums. Or the over-sensualized jazz notes on “Lampshade,” giving a more intimate setting to add depth toward some of the doubt within Boldy’s lyrics. There’s the bleak piano notes of “All Madden,” which complements the duality of the content while keeping it afloat past its featured artist. “St. Juliana” twinkles with its fleeting lightness, comparatively, and “Stamps In The Middle” comes off as big bandish in Hip-Hop, and as the final track it lands as more of a statement. The production helps deliver that impact on James’ words and gives credence to an album that pushes itself further than what could get heard as just quality from both sides; there is impact, and the collision is smooth, with no one just riding the beat haphazardly. Like the powerful and steadfast “Undisputed,” the beat holds firm giving James the oomph to feel so as he delivers his bars.
Boldy James’ lyricism is at a peak with the multi-faceted layers, and the disappointing element on the album is the features, especially Double Dee on “Permission,” which is one of the more creatively astute productions on the album, as the percussion becomes enigmatic and switches tempos from the more nostalgic driven radiance of other beats. It’s these two blemishes that push it away from being perfect, but as it goes they are stuck within a chasm of so much great stuff, it isn’t surprising that these two features can easily be throwaways that don’t fully hinder the project, especially its pacing. There’s no denying Across the Tracks is my favorite Hip-Hop album of 2024 so far, and much of that comes from the sheer powerhouse force that is Boldy James and Conductor Williams; I wouldn’t be glazing if it wasn’t and it worth every minute of your time. Fortunately, it’s 29 minutes and doesn’t feel brisk, so the time you spend with it feels drawn out and authentic, pushing memorable moments out of the wazoo. Give it a spin, and know the hunger for more Boldy will always remain.
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