ALBUM REVIEW: Logic - The Incredible True Story (2015)

Logic is a nice guy. A really nice guy. Watching interviews with him at Hot 97 and HardKnockTV ahead of this latest project, I found myself being inspired simply by his constant exuberant energy. There was a moment when he was talking on Hot 97 that to me felt very symbolic of where Logic is in his career. It came when he was showing Ebro and the crew that he could solve a Rubik's cube in under a minute. It was impressive to watch, but also to hear him proclaim that solving it put his mind into the same gear as when he is trying to memorise rap bars. Logic is obviously a very talented rapper and has been from his first mixtapes, yet he has been pigeon holed and labelled as the 'nice guy' who relies too heavily on his influences. Both of these statements are unequivocally true in my opinion. He's incredibly nice, but in the best possible way. A great role model for rap fans. He does also wear his many, rather predictable, influences on his sleeve a lot of the time. I don't see this as necessarily a bad thing though, and he has admitted many times how much artists like Kanye, Kendrick, Drake and Quentin Taratino have shaped his sound and aesthetic. But in trying to write an objective review of this album, I must take the latter point into consideration. Indeed, why would I listen to Logic trying to sound like Drake on 'I Am The Greatest' if I can listen to Drizzy himself? The short of it is I do think Logic has the ability to use his inspiration to form a unique sound and flow, I'd just like to see it a bit more often.

This album kicks off with a really great intro, 'Contact', constructed using some distinctive drums that Logic claims he first heard watching Anime as a kid and later on Kanye's '808s and Heartbreak'. Its a very cinematic intro and it sets up the album's concept perfectly. Logic was very clear in his Hot97 interview, saying that the space travelling concept that strings the skits together on this album are separate from the songs. I like this, as I think an album full of space themed tracks would have been tiresome. Overall though I dig the cinematic story, with the AI from Under Pressure making another appearance with cleverly upgraded software. I'm not going to go into the details on the concept, but its clear Logic put a lot of effort into it. 

We then get 'Fade Away', one of my favourites on the album. A classic Under Pressure style beat and Logic spitting hard and distinctively. His flow and delivery on this song sound fresh and unique, making it stand out as one of the most authentic on the album. 'Upgrade' is where I start to hear some Kendrick influence creep in, but not in a way where it feels like he's biting. Its another very solid song with a blissful laid back beat and Logic throwing out some good bars, but nothing mind-blowing. 'Like Woah' is where we really start to run into some flow biting problems. Logic sounds almost exactly like Kendrick on 'Alright' from To Pimp A Butterfly. The flow, the tempo, the delivery - it's too obvious to miss this time. Unfortunately, I can't give Logic a pass for this one, especially as it was one of the hit singles. Thankfully the next track we have Logic back on top form with 'Young Jesus'. Easily one of my favourite hip hop tracks of the year, this song has everything from hard-hitting lyrics, an infectious and resonant beat, a flawless delivery and a fitting feature from Big Lenbo. The James Blake sample was flipped to perfection and really gave the track a vibe that I just kept me coming back to listen to it.

Innermission is another great track, with a beautiful vocal from Lucy Rose. Logic tones his lyrics down to a more reflective mode, reminiscing about his past and thinking about those he left behind. We then get 'I Am The Greatest', Logic's attempt to switch the album up a notch. Yet again though, what we get is another obvious attempt to imitate a fellow rapper, this time the 6 God. I think this was purposeful though, and although I still don't think its fully justified, I kind of get it. This is the type of delivery the masses want to hear in 2015, and Drake is proving the most popular of those spitting like that. I like the message of the track, pushing the idea of being the greatest version of yourself and not caring what other people think, yet I can't help but feel a hint of irony, as this sounds like it could have come straight off 'If You're Reading This It's Too Late'. 

'Lord Willin'' is good, but not particularly memorable either lyrically or sonically. We're then straight back to biting on 'City Of Stars', with what sounds like an ode to Kanye's 808s and Heartbreak. In fact, if I heard just the chorus without knowing it was Logic, I'd think I was listening to an 808s outtake. He manages to rectify the song a bit though with a ferocious verse to close it out. 'Stainless' comes next, and by this point I start to understand why Logic does sometimes feel the need to reach so deeply into his influences. It might be because his normal flow is quite one dimensional, as is the production on many of the tracks on here. The way he raps doesn't draw you into the lyrics in the same way I feel Kendrick’s or Kanye’s does. Don't get me wrong, I like his natural delivery a lot, and my favourite tracks on here are the ones where he does sound like himself, but I think 18 tracks of the same delivery, similar tempo, similar tone would leave me wanting more. Unlike Kendrick, he doesn't yet seem to be able to adapt his delivery without it coming off as a rip off of another artist, and I consider this to be one of his only obstacles as an artist going forward. 

'Paradise' is another one of my favourite tracks, with a dark and ethereal instrumental and some absolute gems lyrically. But the beat switch up takes it back to a familiar place, sounding like a Good Kid M.A.A.D City instrumental. I think the next two tracks are a bit unnecessary too, not really treading any new ground and only serving to drag the album out a bit longer for no real purpose. They aren't bad tracks, and Logic is spitting on both, but the production feels slightly stale by this point. The title track closes the album off in solid fashion. I don't love it, but at least its something fresh. Logic mixes singing and rapping here to nice effect, backed up by some great instrumentation. The vocal snippet he uses in the latter half of the track talks about not seeking money for its own sake, but doing what you love to do to the best of your ability. Hardly a groundbreaking sentiment, but I think one that is synonymous with Logic's main message as a musician at this point.

All things considered, The Incredible True Story was a bit inconsistent, much like its predecessor Under Pressure. I don't think its a step up from that album in any other aspect but the concept, which I found more entertaining. Sonically, I think Logic is still carving out his lane, resulting in this album sounding confused at some points. He still sounds best when he's rapping over bouncy, heavily sampled beats like on 'Young Jesus', or over heavier production like Under Pressure's 'Gang Related' or 'Paradise' on this album. In regard to him biting other rappers’ styles, I do see it as a problem. I respect his viewpoint that he doesn't care what other people think as long as he likes what he's doing, but I have to look at his music in the context of hip hop today when writing a review. I realise that it's becoming increasingly hard for up and coming rappers to sound original, but it’s still a vital requirement if he wants be put in the same category as those who are progressing the genre in the 21st century. That being said, I still love listening to Logic and can appreciate his raw talent as an MC. With his enthusiasm and passion for music and life, I can still see him putting out a knock out project sometime in the future. I look forward to the day.

Lyrics: 80

Production: 75

Cohesion: 75

Originality: 50

Overall: 70/100

MOVIE REVIEW: Steve Jobs (2015)

I went in to this film still with mixed feelings on Steve Jobs. Since his death and indeed throughout his life, I think he’s managed to retain a certain mystique, despite countless books and films being released. The point is that I didn’t know what to think about him and the way he lived his life. His life was full of dichotomies. He masterminded Apple, the biggest company in the world that has brought incredible tools to millions of people, yet technology is starting to create social problems. He lived his adolescence as a self-confessed hippy, yet he became a symbol of corporate America. He created devices that were designed to be beautiful and connect us all, yet he himself was clearly very single-minded and extremely ruthless with people. All this contrast adds to the enigma of Jobs, and certainly makes him a fascinating case study for film makers and biographers alike.

Quite simply, I loved this movie. It ticked all the right boxes for a Steve Jobs biopic, making it incredibly satisfying after the let down that was 2013’s ‘Jobs’. Although it was a let down, I certainly wouldn’t write Jobs off as a crap film though. In fact, it was better in one key area than this most recent film, that being the accuracy of the characters’ appearances. It has to be said that Michael Fassbender looks nothing like the real Steve, whereas Kutcher seemed to be an almost spitting image. It is a small point but nonetheless a notable one. If it wasn’t for the genius screenplay and some fantastic direction it may have been a more noticeable misfire, but when it came down to it I barely noticed it at all. I still believed in Fassbender’s portrayal of Steve. It was a far more nuanced performance than that of Kutcher’s.

Part of the reason it was so much better was down to the structure. Danny Boyle chose to focus on three significant launch events presented by Jobs at various points in his career. These were the Macintosh launch in 1984, The Next in 1993 and the iMac in 1998 respectively. But he took it entirely behind the scenes. This to me was the genius of this film. The 3 events only really serve to ground the film and place it in context, whilst the real substance is not found in the corporate side, but the human side of the man at these various points in his tumultuous career. This gave the film a chance to really delve deeply into Jobs’ cold and often extremely ruthless character, whilst still providing a narrative backbone. All in 122 minutes.

I won’t go into detail on the various subplots that are explored in Steve Jobs. All I can really say is that almost all of them were riveting and packed a real emotional sucker punch. Perhaps the core of the film is the relationship between Steve, his daughter Lisa and her mother, Chrisann. It was obviously the intention to stretch the literal truth somewhat and have these two crop up at each of the three launch events, and perhaps even more fictitiously, start an argument with Steve right before he was set to go on stage. These relationships, between Steve and Lisa, are really honestly explored. The emotional dissonance is tangible and you start to understand the mixed feelings that built up between the two over Lisa’s upbringing. It all comes to a head brilliantly in the third act with Steve being forced to confront the very essence of what made him the cut throat businessman who ‘played the orchestra’ at Apple for so many years. The line “I’m badly made” really sums it up perfectly, encapsulating the great irony of the man.

Other characters also have their moments, like John Scully, played fantastically by Jeff Daniels. The argument him and Jobs have at the end of the second act was one of the most gripping pieces of filmmaking I’ve seen in some time. Then there is Woz, portrayed by Seth Rogan. This didn’t appear to be a challenging role for Rogan, despite being known principally for his comic characters. The arguments that break out between him and Steve in both the second and third acts were also gloriously suspenseful. The show is well and truly stolen by Fassbender though. He dominates almost every scene with a relentless intensity and your eyes are drawn to him. He captured the almost sadistic and disconnected Jobs with bold assurance and I must applaud him for that. Kate Winslet does a reasonable job as marketing executive Joanna Hoffman, although like Rogan, I feel this role didn’t stretch her talent too much.

Anyone that goes into Steve Jobs expecting bells and whistles or much of a coherent plotline will be sorely disappointed. This is, above all, a character study. Comparisons have obviously been made to The Social Network, which I also like a lot. But I see that film as a bit more accessible than this one, which I feel Is down to Zuckerberg being a more concrete character. There wasn’t as much subconscious conflict going on in regard to his intentions and his true identity. Hence with Steve Jobs, I think screenwriter Aaron Sorkin probably used even more words than he did in writing The Social Network, which I have to say is some feat. The screenplay has a Sorkin-esque urgency and catharsis to it. Almost like everything in the very heavy script simply must be said for it to all make sense. The result of this is a very dense film, with the emphasis almost always on the dialogue. To its great credit, the film manages to avoid clichés, both visual and verbal, and remain engaging throughout. In fact, I think it got better as it went on. This just proves, if proof was needed, that Sorkin is a damn good writer, and I found myself throwing mental fist pumps after nearly every line in the second half. Nothing should be taken away from Danny Boyle’s direction though, which undeniably provided the perfect atmosphere for the dialogue to play out in. I particularly liked how he used different cameras to film each act too. Some would say a gimmick, but it reinforced the progression of technology between the respective years.

Overall, this was one of the best films I’ve seen in 2015. It gives you a rare insight into a very rare and special mind, whilst also adequately exploring the politics of what was happening at that crucial time in the world of computing. I felt like I came out better informed on Steve Jobs and what drove him to create what he did. I have no real negatives, only that I felt that the film started a bit sluggishly and picked up at a steady pace right until the credits rolled. I don’t think everybody will enjoy this film though, and indeed I know people who have hated it, which I understand to some degree. But if you’re interested in Apple, the computing revolution or Steve Jobs the human being, this will be gold dust to you.

Acting: 90

Narrative: 80

Visuals: 85

Music: 85

Overall: 85/100

Bob Dylan - The Cutting Edge 1965-1966 Sampler: First Impressions

This is what I’ve been waiting for. The bootleg to end all bootlegs. Today finally saw the long anticipated release of The Cutting Edge 1965-1966, a collection of studio outtakes and unreleased gems, most of which have never been in circulation, issued in 3 different editions. For Dylan fanatics, this just might be the mecca. These two years, above being what many others and I see as his creative peak, also symbolise the time in which he completely reinvented the popular music paradigm, shifting his sound from acoustic to electric and his songs from troubadour anthems to densely layered abstractions. Like never before, we can hear the development of that ‘wild mercury sound’ in all its glory.

This is only a brief overview of my initial impressions, as I’ve only heard the sampler that appeared promptly on Apple Music this morning. I haven’t yet had the chance to get myself down to the store to purchase a copy. Being the Dylan fan I am, it saddens me greatly to know that I will only be able to afford the 2 CD ‘Best Of..’ set, instead of the lofty 6 CD and 18 CD versions. One of the only criticisms I have had of the bootleg series since I have started buying the physical copies is the pricing. I mean, I love what they have done with this bootleg and others by making multiple versions available. But £100 for 6 CD’s, and £400 (!!) for the ultimate collectors edition, is undeniably expensive, even taking into account the cool little extras they throw in.

Anyway, my thoughts on the sampler - it’s fantastic! I’ve already given all 15 tracks 3 full run-throughs, and just like with any great music, they’ve got better with each listen. There are some mind-blowing performances on here, not only from Dylan but also the various backing bands that created that eternal sound on those three legendary albums. There are also plenty of surprises in regard to how Dylan phrases some of his lyrics, twisting some of the rhyming to make the song into something completely distinct from the original. That was the genius of Bob at this time, his seemingly limitless capacity for playing around with words, making something clear and meaningful out of complete and utter chaos. I think a trap many people fall into when analysing this period in Dylan’s songwriting is comparing it to his earlier or later work. There are virtually no similarities. Dylan in 1965/66 was in a sort of vacuum, writing songs from unbridled inspiration and a creative space that has only been reached by a few artists in history. Lumping these lyrics into the same category as With God On Our Side or Blowin’ In The Wind is just going to lead you on a wild good chase, clutching at straws. I am personally of the opinion that when it comes to songs like Visions Of Johanna, the meaning is implicit in the whole sound, not in each separate line. This bootleg, or at least what I’ve heard of it so far, does a great job at displaying the looseness of these songs, the elasticity of them. Bob could bend the lyrics or instrumentation into whatever he wanted them to be at the time, or he could add to them spontaneously, and somehow they didn’t lose even a hint of meaning or impact.

On this bootleg, you really are granted exclusive access to the mind of Bob Dylan at the very summit of his songwriting prowess, but there is far more to be gleaned here than simply an interesting musical artifact. These outtakes are bursting at he seams with energy and passion. You could even make the argument that many of the alternate takes are better than the originals. But most importantly, they are thoroughly entertaining to listen to, from the blissful opener She Belongs To Me to the somber unreleased masterpiece She’s Your Lover Now. I can’t wait to pick up a physical copy and dive into the nitty gritty detail of each track. I’ll do my best to post a full review once I’ve had a couple of weeks to absorb it, but in the meantime Dylan fans, sit down, throw this on, and hold on to your hats, it’s going to be a wild ride!