Pusha T turns guest spots with Kanye into full album
Published: Tuesday, October 15, 2013
Updated: Tuesday, October 15, 2013 03:10
If you’re unfamiliar with the name “Pusha T” don’t expect to be for very much longer. This Virginia-based rapper is making headlines with the release of his debut album Oct. 8 entitled “My Name Is My Name,” and there’s a reason why.
If the name rings a bit of a bell, it may be from several of his guest spots on Kanye West’s tracks. After signing with Kanye’s record label, GOOD Music, he came into the public eye after being featured on the eerily introspective “Runaway,” then snagged a Grammy nomination when he joined Kanye, Big Sean and 2 Chainz for the 2012 summer hit “Mercy.”
Singles have been dropping from this album for over a year, so it’s no surprise that anticipation was so built up, especially after the release got pushed nearly two months from its original
Pusha T also managed to rally up an impressive list of guest artists for the album, leaving only the opening two tracks feature-less. With Chris Brown, Rick Ross, Kelly Rowland, 2 Chainz, Big Sean, Kendrick Lamar, Future, Pharrell and more thrown into the mix, each track packs its own punch.
Content-wise, there isn’t much separating Pusha T from the rest of today’s hip-hop. That’s not to say that he isn’t able to show a deeper side of himself than he’s been able to so far, but he’s quite proud to boast his drug dealing past, with lines like “I sold more dope than I sold records.” Where he really displays his talent is in other aspects, like his flow. He’s able to quickly change his intensity to follow the track, which has a sneaky way of taking a 180 when you least expect it. While Push’s voice could often be generalized as a brash one, we’re exposed to a lighter side on tracks like “Let Me Love” where the beat gets relaxed and Push can take his time
with each rhyme.
Rhyming is another area where Pusha T excels and shows his skills at penning verses. This is probably most exhibited in the latest single, “Sweet Serenade,” where a filtered Chris Brown on the hook letting Push put his wordplay to work for three heavy-hitting verses, although most lines are too explicit to be published here. He’s got a habit of throwing double, triple and quadruple entendres together and likes to reference the greats, Notorious
B.I.G. in particular.
The production level is definitely another area the album kills in, but that’s to be expected when you’ve got Kanye, Swizz Beatz and Pharrell behind the soundboard. Kanye’s distinct sound in particular shines through, utilizing the minimal yet abrasive style that he capitalized on with “Yeezus.”