Vince Staples – Ramona Park Broke My Heart: Review

The first sounds we hear are waves slowly crashing along the sands of Long Beach, California. We immediately fade into Vince Staples rapping as the faint sounds of the waves blend in the background, and we get reintroduced to inside his head. Ramona Park Broke My Heart is a shifting paradigm of lies and heartbreak, cornering any sense of hope to succeed. Vince Staples’ mind has hypotheticals, realizations, and growing pains that reflect how he views his career after many years under a label–sometimes, of his personality; other times, reflective of his career. But there is more to the project than the parallels in his potent lyricism, which is a constant on Ramona Park Broke My Heart. He is showing us behind the broken walls that surround him. Vince is giving us a lot to break down, from the emotionally-lyrical side and the production, which brings a continuation of greatness heard on his self-titled release last year.

Let’s hit play on “Papercuts”; Vince Staples raps about the importance money has on him as he pushes aside an element of internal happiness. Like Vince Staples, I’ve understood him to a degree; he feels slaved over in the industry, finding less care in creating at a certain speed because his craft takes time. He isn’t an everyday rapper willing to drop a few minutes to make a pop record–we have learned from J. Cole that he got told he needed a single to sell on his debut instead of keying in on a balance of authenticity with his style. Even with Vince’s most popular tracks, he kept it 100 to his style, which shows a parallel in his artistry, where he can elevate a pop song if asked to appear on one. He’s done it before with “&Burn” by Billie Eilish. Despite the directions he takes, it’s thematically and lyrically consistent because he is zeroing in on his heart, his home.

When rapping, Vince Staples has a tremendous effect on the album as he taps into a line where he can distinguish the love for Ramona Park and the music inspired by it. There are an array of emotions that push these songs into having definition within the confines of his arc. It all pans out as intended, except for “DJ Quik,” which left little impression on me, despite a great use of a “Dollaz + Sense” by Quik himself. The lyrics in the verses are on point, but his slightly basic and slightly dronish delivery on “DJ Quik” doesn’t make an impression, knowing “Magic” comes next. Though there isn’t a linear direction that Vince takes us through, it’s more like recollecting through pictures. It’s like he opened a picture book from his life in Ramona Park and compares and contrasts it with the present.

Thinking of it as such allows for contrasting flows between tracks to work, for the most part–née “DJ Quik” to “Magic.” These shifts can come out in a somber tone like on “East Point Prayer,” which adds gravity to its themes of gang violence and selling drugs; it’s the opposite with “When Sparks Fly,” where Vince personifies love through his flow. Unlike other tracks, these two have specific parallels that aren’t subtle. They carry more as the pivot point in the middle where the album begins to mold into a cohesive structure. Some parallels can come from the production side, like when it transitions from “DJ Quik” into “Magic” and “Rose Street” into “The Blues.” Or it can come from the lyrical side like “East Point Prayer” to “When Sparks Fly” or “Papercuts” to “Lemonade,” which shows two sides to his feelings behind making money.

However, for “East Point Prayer” and “When Sparks Fly,” the latter speaks about the love between a person and a personified gun, like how a gearhead names their car–it’s like a child. Another parallel comes with the content of “East Point Prayer,” which sees both rappers talk about their resilience in escaping a life set by the foundations around them. Lil Baby delivers an equally powerful verse that reflects the business side, showing that no matter the profession, you can grow and evolve from someone better than “a product of the environment,” as he raps. It’s all buoyed by its production.

The production contains a downbeat consistency with few overlays that make every track worth wild. Though, it’s hard to meet the production of tracks like “Lemonade,” “Magic,” and “Slide” has Vince Staples putting on his musical cap and trying to continue to reflect the eccentric flows and melodies of his first few albums. “Lemonade” and “Magic” are elevated higher by the featured artist, Ty Dolla Sign and DJ Mustard, respectively. The same goes for Lil Baby on “East Point Prayer.” The cloudy-synth base production drifts you into a terrain of open consciousness. There is a balance between the two, though it may not be for everyone, as Vince stays consistent with the introspective lyricism.

From the collection of producers, there is some equilibrium in bringing a sonic consistency that you can distinguish where you have to focus on his verse. Ramona Park Broke My Heart is a lot to unpack, and the experience is rewarding. We continue to get a different Vince Staples that isn’t bent on the avant-garde and instead keying in on his roots, specifically in its production. Personally, I felt immersed in Vince’s work as he took us down new avenues expanding sounds over the production’s base drum patterns.

Rating: 9 out of 10.

The Weekly Coo’s – Top 15 Hip-Hop Albums of 2021

All reviews are linked to the album title.


Baby Keem came from under the shadows of his superstar cousin Kendrick Lamar to properly define himself after a few test tapes in swampy waters. Hip-Hop isn’t always the kindest, but the niches have allowed any artist to strive – to a certain point, sometimes – and Keem seemed to have something that may not have given him staying power. I’m talking about his vocal tendencies, melodies, and production. The Melodic Blue strives by subverting our thoughts and giving us a proper debut that rolls out monstrous hits, catchy hooks, and a multi-faceted Baby Keem.
Teetering between finding himself spiritually and finding himself musically, DMX’s career over the last decade has been forgettable, to say the least. Listening to Exodus, it was refreshing to hear DMX revert – sonically – to his roots. He whips up a whirlwind of songs that deliver nuances to the old while keeping itself modern – from a classic posse cut with The Lox, a classic triad with Jay-Z and Nas, a standout performance alongside Moneybagg Yo, who does the same, the path is limitless. Unfortunately, I thought so from looking at the tracklist. However, the few rough patches come with artists that tread into poppier sounds – his originality still holds it together tightly.
It’s hard to come up with the right words to describe Donda, and so I implore you to click the link above and read my review as it explains my true feelings.
Gotham took a chance with a sucker punch, and it lands firmly on your face. I can attribute that to Diamond D’s masterful production and rhyme skills alongside another NY veteran and master lyricist in Talib Kweli, which takes me back to that classic gritty boom-bap style of the past you sometimes want now and then.
LP! is raw. It is filled to the brim with interpersonal raps and linguistic gymnastics as JPEGMAFIA delivers how he feels like a creator. The visceral imagery on both sides of the coin continuously glows in front of the many aspects that make the music great, especially in Part II of “TIRED, NERVOUS & BROKE! (SICK, NERVOUS, AND BROKE!),” where JPEG and Kimbra create a melancholic unison. It may not be my favorite JPEG album so far, but it packs enough punch to be a solid follow-up to his last album, All My Heroes Are Cornballs.” From Review. 
One thing that I’ve always admired about Joell Ortiz is his hunger. Amongst prominent New York rappers, he has never stood out like his contemporaries – The Lox, Cam’ron, and Fabolous, to name a few. But that hunger gives us a potent personal reflection on his career and life in an excursion through great production and multi-faceted layers of character depth in his verses.
Nas improves his craft heavily on King’s Disease 2, from the lyrical depth to stylistic constructs. He still fails to find his footing when creating “hits,” though Nas isn’t the one who fails, his features sometimes don’t bring that same energy like A Boogie on the song “YKTV,” or they are underused like Blxst on “Brunch On Sundays.” But most of the album hits as Nas takes everything by the horns and delivers us some heavily introspective work that drops knowledge bombs like on “Death Row.” It’s an overall fantastic listen.
"I Died For This?! is far from your typical debut, similar to Kendrick Lamar’s GKMC; it is about telling his story and upbringing. The only difference is the universal appeal that comes from the music. Grip’s debut takes us through his upbringing and everyday situations burdening him and his community. Grip’s creativity sounded limited in the past, with simple bounce production weighing his style down from growing." From Review.

Grip’s raw energy and determination to prove his worth only embolden his strengths to mask some basic chorus deliveries – it’s sometimes common for new artists, especially for rappers privy to his style of lyricism. Unfortunately, a few tracks don’t stick the landing – it derives from Grip’s breather from different angles of his craft.
"Of the four projects Boldy James and The Alchemist have made together, Bo Jackson is the best. It never creates friction allowing everyone to breathe on the track in their distinctive ways." From Review.
It’s hard to come up with the right words to describe A Beautiful Revolution Pt. 2, and so I implore you to click the link above and read my review.
"Tempus exceeds beyond the parameters of the walls it imposes on itself for a marketable reach, but Issa Gold has never been one to glamorize success as his mental health still hits him in strife. These recurring themes have been a looming shadow on the rapper as he comes to grips with the way life changed. He may not have the appeal of New York rappers who encompass, the currently trendy, New York Drill sound and expand it to fit the unique niche of their verbal artistry." From Review.
4. Blu – The Color Blu(e)
"The Color Blu(e) isn’t as profound and tightly wound as Miles, but Blu doesn’t take shortcuts. He still comes at full force with diverse subjects and verses that are as memorable as the production. From the various samples, some of which are as luscious as “Mr. Blue Sky,” you’ll still find more pieces to dissect and enjoy. In terms of hip-hop, this is one of the best projects this year, and it earns one of my more earnest recommendations." From Review.
"Call Me If You Get Lost shows Tyler, the Creator consistent ascension toward greatness as he continues to surprise us with new sounds, album after album. After a slew of great releases that didn’t always come together tightly, Tyler finds an equilibrium that highlights his strengths as an artist in what could be deemed his best work of his career and creating a landmark within generalized nostalgia trends going about these days." From Review.
"Vince Staples gives us Vince delivering his most personal work to date in a melancholic and depth-filled album. For some, the album may deter you due to its length and others may be deterred due to the uncanniness of the sound. Though it isn’t uncanny as Vince has been everywhere and on different instrumentals, that this subdued direction isn’t anything new. It is an album that is as fresh as they come, especially with the wrought trend going on in hip-hop today and I highly recommend you give it a listen and more than once." From Review.
Sometimes I Might Be Introvert is Little Simz’s best work – it’s introspective, clear-headed musically, and offers a mix that gets us her lyrical best. The production never wanes into becoming a distraction, as it only amplifies her strengths. From incorporating sounds that bridge hip-hop and Afrobeat to luminous hip-hop with soul and electronic undertones, the music has a consistent path where the switches are fluid without hindrance. 

Check out the review by clicking the link above.

Vince Staples – Vince Staples: Review

Vince Staples’ career has been filled with an avant-garde identity sonically, but with more cohesion and depth than pretentious artists from other mediums. As he grew into his own, his sound kept a tight leash on his west coast roots before exploring these visceral production styles on his major-label debut, Summertime ‘06, and progressing on subsequent releases, like the deep house, IDM, and electronic influences on Big Fish Theory. Both albums brought a plethora of producers to create these sounds that weren’t advantageous on a broader spectrum, but he excelled. He continues to do so on the self-titled Vince Staples, which keeps the motifs focused as he delivers an amalgamation of new perspectives about life; specifically what has changed in the purview from events in his life throughout the years.

Working with producers like the late SOPHIE, DJ Dahi, and GTA, which brought a variety of fluid EDM sounds to polish any underlying hip-hop undertones, Vince Staples has been able to find equilibrium in the sounds. It has continued with his last album, FM!, and the new Vince Staples, as EDM turned Hip-Hop producer Kenny Beats takes control. As evident with the rappers he has worked with prior, Kenny’s production style, which mixes conceptual sounds of a more realized and less poppy hip-hop tracks of yesterday and giving it a modern twist. It humbles Vince’s artistry, as he doesn’t try to implement too much sonic complexity, and takes it back to his Shyne Coldchain days, where the melodic-soul undertones create a new sense of depth. 

The self-titled album has us taking a trip with Vince Staples as he reminisces about home and his life growing up within a gang ecosystem and before music became the focal point. He takes us through loops, discussing ambitions and desires at the time and exploiting it as a way to intimidate the listener. But this comes across positively without glamourizing gang life. For Vince, it was more than just that; his anger ran through a stream of regrets and depression.

Vince carries a lot on his mind and he lets it out on a silver plate. A lot of deals with post-dated re-evaluations of his life; specifically his youth and adolescence during his time as a Crip affiliated gang member. On “Sundown Town,” Vince reminisces about his days as a Naughty Nasty Gangster Crips, describing how his world was like the realized style of storytelling where night becomes a complete 180 in the equation of normality. He progresses to expand on these ideologies, breaking conventions of the perpetuated feelings that come from fame and success. On the subsequent track, “The Shining,” he fights with his subconscious with some of these ideas of death and attraction, despite known hesitation of the truth. 

Vince Staples has a constant battle with dualities, whether he is fighting them or accepting them. At the mid-point, this duality is shown through two degrees of emotions from Vince. It’s through three tracks that fully define the heavier weight on his mind. In the track “Taking Trips,” Vince lambasts about life on the road, touring and meeting these groupie women, though his emotions come off a bit broken and distant, showing a sense of doubt before reassuring his confidence through lines about bringing packing heat and understanding own worth. But on “Take Me Home,” Vince gives us a look into his philanthropic output, which involves community reform and finding ways to make it easier to drown out the violence as drives around neighborhoods. These themes and topics make an impact on him due to his aforementioned past.

In between those tracks, Vince Staples incorporates an interlude that defines his being. It’s his mother describing lying on the stand to defend his father and In seeking out the person whom Vince’s father was convicted for attempting to murder. Being called “The Apple & The Tree,” it plays off the metaphor off the apple doesn’t fall far from the tree, however, Vince Staples fell and landed straight down. Despite falling onto a path akin to his father, the commendable qualities about them shined more like their focus and degree of loyalty they have for a family in a generalized sense (i.e. other families like his gang mates).

Vince Staples continues the approach Vince has had with his music, as he tries to give more life and depth, lyrically, opposed to sonically. The 22-minute runtime is only a smokescreen for Vince, as it has been a crutch for him to fully envelope his sound with the right jabs at each angle so no page is left unturned. He feels and sounds fully realized on the album, even delivering unique moments where the flex track feels like a member of the arching concept on it. His flex comes across as more humbling. And as it seems, it is a new direction for Vince that carries over the strength of his vocal conduction that hasn’t been heard on a solo project since summertime ‘06.

Vince Staples gives us Vince delivering his most personal work to date in a melancholic and depth-filled album. For some, the album may deter you due to its length and others may be deterred due to the uncanniness of the sound. Though it isn’t uncanny as Vince has been everywhere and on different instrumentals, this subdued direction isn’t anything new. It is an album that is as fresh as they come, especially with the wrought trend going on in hip-hop today and I highly recommend you give it a listen and more than once.

Rating: 9.5 out of 10.