Wale: Attention Deficit

If his 2008 “Mixtape of the Year” candidate (The Mixtape About Nothing) showed anything, it showed everything that this proud DC native is capable of. Wale’s got an enjoyable wit locked in with a catchy and unique flow, while having a constant knack for delivering applicable pop culture notes. Wale is fun, energetic, and wears his heart on his sleeve, evident on his latest record, Attention Deficit. Maybe not on the decline reminiscent to fellow freshman classmate Charles Hamilton, Wale was under fire for perhaps being slightly overrated, poppy, and too cocky for someone still unproven. It’s hard to say if that motivated him to create such a wonderful piece of work via Attention Deficit. This project is backed by great production, guidance from some pretty important hip hop personalities, and a dedicated District of Columbia fanbase evident in his momentum. Wale is certainly showing that he is an artist carving his own niche in the sacred art of hip hop and doing it so stylistically that it is hard to hate on.

The album’s opener, the underwhelming “Triumph,” shouldn’t alarm any listeners. In fact, the beat, courtesy of Dave Sitek (of TV on the Radio and Yeah Yeah Yeahs fame), has such an epic feel to it that it sets a difficult standard to match for such an anticipated release. Nevertheless, Wale comes back strong with “Mama Told Me,” a telling tale of the tape from the days of a young’n to the revealing adult life. This trails into the Mark Ronson jazz-club infused, Bun B featured “Mirrors.” It’s hard to tell what the highlight of this song is; it’s a toss up between Mark’s guitar strums so perfectly laid according before, after, and during some sweet and timely horns, or Bun B’s Parkay flow, used so fittingly instrumental and powerful, or Wale’s fundamental connection to both Bun and Mark. The track is effortlessly dope.

There’s something to be said for the title of this project, too. Naming it Attention Deficit (with the wicked cool and appropriate artwork) acts as a double edged sword. On one side, it can be ever so beneficial since content matter and sound can switch from channel-to-channel like an impatient viewer watching the tube, but at the same time it can be the easy way out in explaining a messy and unorganized LP. Wale seems to fit in the former and educates his listeners musically using this concept. The allure of switching from songs like the hit single “Chillin” to the more serious and sweet skin colour exploring of the 9th wonder Best Kept Secret and Ju Ju produced “Shades,” then going to the politically playful and tamed-Public Enemy “TV in the Radio” alongside K’naan (who bodies his verse), and finally taking a retrospective seat with a Rihanna-sample on the rather haunting “Contemplate.”

It’s easy for any listener to skim through this album without thinking much of the song organization, but quite frankly it is this plethora of emotion and flavour that should only further intrigue any acute listener. But still, Wale‘s skill shines, especially on “Contemplate,” a song reminiscent of a young Jigga’s “Regrets.” Yeah. Wale is that good.

What would this album be without a few bangers though? “Pretty Girls,” featuring a killer guest spot from Gucci Mane (yeah, I said that), stands out as a track with high replay value and blow-up single potential. And listen as production team Best Kept Secret stays true to their name, and Backyard Band (Go-Go band from DC) singer Weensey drops a show stealing chorus. The song evokes such a good feeling, a summertime cruising vibe, similar to how Rick Ross and J.U.S.T.I.C.E League did with “Rich off Cocaine.” “Let it Loose” has an uncanny addictive pulse to it courtesy of The Neptunes. The song is justified and sure to hit a dancefloor near you. Of course, the Cool and Dre produced and Jazmine Sullivan assisted “World Tour” hits home from around the globe. Evoking that rush-racing feeling, Wale overcomes the draining road life with a triumphant jolt of exhilaration. And tell me Jazmine can’t sing “da da dad dada dada” to you all day.

“Diary,” “Beautiful Bliss,” and “Prescription” all provide a little special something to the last quarter of the album. “Diary” has Wale telling a story, one told so sincerely with penmanship that hopefully only continues to develop within Wale. “Beautiful Bliss,” aside from the killer Melanie Fiona hook and spine chilling J Cole feature, encompasses the whole essence of the project. The album begins with “Triumph” and ends with a hedonistic sense with logic and emotion in its back pocket. This Roc Nation squad surely delivers. And of course, the “Prescription” for the Attention Deficit is the medicine needed to slap listeners with a dose if reassurance that Wale is in fact really drug-like dope.

There aren’t many hiccups on this project, aside from the well intentioned “90210,” some overly strong features (Bun B, K’naan, J Cole), and perhaps the lack of a Kanye West or Just Blaze beat to be the icing on the cake. But still, even the large amounts of features don’t take away from the album or bring it down. In fact, the features and used to near perfection and quite appropriately, challenging Wale at all times.

Did Wale pour his heart and soul into this LP? Absolutely. It’s evident in every [Roseanne] bar he raps. He raps like he’s got a “chip on [his] shoulder/ big enough to feed Cambodia.” Does he leave some to be desired? Of course. But, at the same time, he doesn’t give much reason to not feel satisfied with the full course meal he has presented to us here. Attention Deficit is an album that is sure to tame any quick trigger fingered listeners and direct a vivid depiction of the sound of honesty, pride, and straight up DC flavour.

88/100

Pretty Girls

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Contemplation

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Beautiful Bliss

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