The Weekly Coos

Juicy J has never been one to fully shift the parameters of his sound for something that contrasts what we’ve heard him rap over, whether it’s crunk, trap, or inundated manufactured Hip-Hop beats that can have its highs. I’m referring to someone who doesn’t change much about who he is, so when he delivered this new Jazz Rap album, Ravenite Social Club, I wasn’t surprised that I couldn’t stop leaving it on a loop. However, much of that gets attributed to the production, which on its own, is a marvel that makes use of its instruments, leaving no stone unturned. Unfortunately, some Juicy J-isms in the flow and lyrical construct can turn some away as he is still Juicy J, yet, you hear the change in themes he chooses to rap with the music—what “ism” that is beneficial is his directness, as it adds more sentimentality to the music because you’re not tossing around dissecting lines to come up with what he wants to say. Though that isn’t the case with every track, the bravado gives the first few tracks something to reflect on, and a strong run at the end makes it more than memorable. 

Ravenite Social Club opens on a fantastic high with a subtle intro before diving deep into some serious themes, like the evils of capitalism on “The Higher Ups” and having levels of trust, valuing it high, and using Paul Castellano as the analogy on “Don’t Go Out.” It doesn’t stop there; it’s followed by “That’s Gangsta,” which focuses on the power dynamic shifts from Juicy J’s youth, where men were paid more and were seen as the dominant in a power dynamic, rarely scrutinized for being free-thinking individuals. This growth he’s seen throughout the years, where women have more autonomy and control is gangsta to him; it’s corny but effective. It’s an ever-flowing stream of consciousness that takes form as you let it consume you via sometimes overpowering beats that make Juicy J more of a cog in this machine that runs on fumes of brass horns and piano keys. Juicy J’s words have more impact because he is breaking his shell to get introspective, but he doesn’t make you forget with the fun braggadocio “Suicide Doors” alongside Cordae. It feels more earned as Juicy J has instilled experiences into these songs, like “Payment,” where Juicy J feels like money has placed a new face on his person.

Juicy J comes and goes fluidly, never taking the time he spends on each song for granted. Some are short, and some are typical song length; however, it hits the highs in the production, fighting Juicy J for the spotlight, and usually succeed. Unfortunately, the directness and Juicy J-ism of it all can feel like you’re listening to just Juicy J over Jazzy beats; it’s more than that, as Juicy isn’t so ratchet with his verbiage even when he flaunts powerful women as the new thing. There is much to the album, and as beautifully composed as the production is, it’s refreshing to hear Juicy J break down his walls and give us something from his soul. It makes up for its lack of creativity by being more different than just in the beats. I love how Juicy J humbles how he looks at his past and brings it forward through his connection via representation. I love how he breaks it down and talks about the consequences of guns, all without coming across as preachy. We get reminded that nobody is truly broke, as there is always a means to an end. He raps about being a father and living more normally.

However what hit hard was Juicy J confronting death and giving us a moment where we hear his grief; the track “To You” opens with news clips talking about the members of Three 6 Mafia who have passed, Lord Infamous, Koopsta Knicca, and Gangsta Boo, as it transitions into Juicy J reflecting in himself the bridges with friendships he doesn’t want to burn and relishing in every moment. It’s a moment of discovery that allows us to hear and see Juicy J in a different light. Though in hindsight, a reflective Juicy J isn’t anything new, it can be rare, and having that as more of a constant on the new album can make it feel more rewarding to listen. It’s a fantastic entry for him, and one I’d highly recommend, even when a part of me still wants a full instrumental version of the album. Ravenite Social Club is produced by JR Swiftz, Juicy J & Robert Glasper, and they give us something more memorable, in a positive light, unlike that Crypto-themed mixtape from 2022. It is something that I’ll take 9 out of 10 times when given the option.

Ravenite Social Club is one album that left an impact this summer, even when coming at the tail end of it; however, as late as it comes, it was gratifying getting this opportunity to listen to a new side of Juicy J. I was left in awe and there isn’t much I could say outside of it being not perfect albeit my glowing thoughts. It’s still very much a Juicy J album, just different, and lyricism/flows that draw me back, but there is enough to pack a punch.