Joho – Black American Scumbag
Joho – Black American Scumbag – Album Review
Given that I’ve claimed countless times on these pages of ours that there are about a handful of albums out there throughout the entire history of music with more than twelve songs on’em that could be described as perfect…I tell ya folks…the idea of twenty-four tracks is practically maddening. Yet here we are, and that’s the case on Joho’s latest record Black American Scumbag. Don’t get me wrong, if there was anyone out there in the independent scene that would stand a chance at being able to accomplish such an impossible task, it’d likely be him…but no matter how good he is, he’s stacked the odds against himself with an enormous record like this one. I look at anything over twelve tracks in front of me on any given record and instantly equate that with what’s likely a lack of necessary objectivity, but I also go into everything I listen to with an open mind. Time for you to shoot your shot homie – let’s do this Joho!
“Scumbag” starts up the record with what makes for the kind of cut that serves as a quality intro, and I can get behind it in terms of this track playing that kind of a role. Joho’s goin’ for some shock value as this album begins when it comes to the content here…he’s explicit, he’s wildly descriptive, and he’s doin’ his level best to make ya raise an eyebrow or two as you wonder whether or not he just said what you think he said. Spoiler alert – I’m sure that he did, and you will be too. I like that the whole vibe seems to be unique from the music-side of things…it’s not the typical sound you’d expect to find someone rapping over top of, or even having such soulful backup vocals included into – and I dig that. Ultimately “Scumbag” is an innovative & artistic track…I’m never gonna be the guy that’ll tell you an artist like Joho needs to go in the shock value direction, because I don’t genuinely believe that’s the case – but if I’m being real with ya, in terms of the concept he’s chosen here, he’s doing right by the song itself and what “Scumbag” is calling out for. In that regard, the man’s fully on-point…I’d be a fool to argue against that.
A track like “Future Chrome” basically spells out the main obstacle & the record’s main asset right there in the title. Joho’s not interested in doing a whole lot of what’s been done before, and he’s looking to be a leader in the future of what music is all about, which is something to be genuinely admired. There’s an obvious Ye influence in that regard, but it’s an aspect of Joho’s music that’s been present for as long as I can remember, and I’ve heard just about every record this dude’s ever made. “Future Chrome” is another cut that proves he’s ahead of the rest…I really like what he’s done with the vocal melody here, I dig the words…I’d probably have turned down the atmospheric synth sounds a lot, but as for the rest, I think he’s got a cut that represents his versatility really well from the music to the microphone. He’s back on his “rap shit,” and his confidence is off the charts, but it’s genuinely justified when you consider his creativity & authenticity combined. Is “Future Chrome” a single? No. But it’s definitely interesting. Not every cut on a twenty-four song album is gonna end up reaching that single-worthy status anyhow.
“Just Be Honest” he says. “Everyone hates that from a critic,” I say in response. Yet that’s how I do my thang whether people like it or not, much the same as Joho makes his music the way that he wants to regardless of what anyone has to say about it. This definitely would be in the realm of single-worthy cuts on Black American Scumbag if you ask me…and for a track that’s over five minutes in length, that’s a serious achievement. Nothing on this track that I’d change, and Joho gives you every reason to want to turn this UP. The main hooks of “Just Be Honest” completely hit the mark, the whole song is built on supremely universal vibes for the most part…it’s entertaining, it’s versatile, it’s dynamic – and he’s done all that good-good stuff without ever having to compromise what he wanted to achieve with this record.
What I’ve enjoyed more than anything else in the first four tracks on this album is Joho’s commitment to every song and the conviction he’s put into every moment we hear. You listen to a track like “Slide” and hear how different it is from so much of what’s out there right now, and you have to give him serious credit for attacking this material like it’s being done every day, which it ain’t. There’s only one Joho y’all, and I can promise you that. He’s been a rare gem in this scene with skills I’ve recognized from day one – and regardless of whether or not I dig each and every track he’s ever created aside, the man himself has always been a force on the front-lines of music that was born to change the game. I listen to tracks like “Slide” and I can hear him really starting to embrace his destiny with everything he’s got…it’s one thing to be an innovative artist & songwriter, it’s a whole other thing to be able to perform that kind of unique material without any hesitation. Joho’s early days are officially behind him now…that’s what I think of the most when I listen to “Slide” – he’s surging into his prime & really putting his chops on display here. I’m not sayin’ “Slide” is one of my own personal favorites on this record, but I am saying I’ve got a whole lot of respect for the way Joho’s dropped any signs of previous trepidation with his performances now.
“Outside” is probably gonna wear itself out pretty damn quick based on hittin’ that same note of many lines with the same tone & approach…though it’s possible that strong guest appearances from The Real KD and Groupy Dimes could prevent that, at least for a little while. Don’t get it twisted – the hooks ARE effective and there’s a whole lot about “Outside” that is definitely memorable as a result – the attention to detail from the start to finish in this track is also noteworthy here too. If anything, the consistency you’ll find in “Outside” works both for, and potentially against it too – I felt like it connected right away, but completely felt like there’s a good chance that it’s gonna have a hard time standing up against the wear & tear of repeat. Time will tell the true tale on that. Black American Scumbag is still very much on the new side of what’s on my playlist right now, so I’m just spittin’ theories here…if we’re talking about the way things sound outside of any wild projections, I’ve got no choice but to give this all a thumbs up. Hooks-wise, I’d easily argue that it’s the most memorable track of any within the first five in that regard.
Droppin’ the Ye influence for a moment in favor of something that sounds a lot more like what you’d expect from Chance The Rapper on “Cuzzins” – this would probably be the first cut I’d say is definitely one of the tracks I’d have looked at droppin’ on an album that’s twenty-four tracks and two-hours long. Does that make it bad? Nope! Does it reach the quality that the first five cuts give ya? Also nope. I’m not really opposed to what I hear – I like the fact that Joho’s giving ya something different & diversifying the lineup…basically, I’d fully encourage him to continue to explore creating songs like this – but I don’t know that I could endorse this cut on a record as large as this one is. Would Black American Scumbag be stronger with twenty-three tracks instead of twenty-four? Sure! And there would definitely be more that I’d cut in any scenario like this, as opposed to emptying the full clip…but he’s got some really good ideas in the mix of “Cuzzins” – the main melodic hooks are definitely something he could build around.
To be truthful, I probably feel a lot the same towards the inclusion of the next track too, though I’d readily acknowledge that both “Cuzzins” and “Constant Spirals” sound like they’d be a hell of a lot of fun to play LIVE, which Joho has certainly been doing a lot of these days. I don’t know which songs have or haven’t been making the set-list, but both of these cuts definitely strike me as tracks that would work out better being played from the stage than being songs on an album this huge. What I really dig about “Constant Spirals” is the introduction of real throwback/psychedelic vibes, and of course, the effort that has been put into the material once again. Like I said, regardless of my personal opinion about this or that, the quality Joho has put into this record shows that he’s as committed and focused as ever when it comes to his performances or how things sound. “Constant Spirals” seemed a bit thin to me ideas-wise in the beginning, though I really do like the vibe – but I love the way he raises the stakes to turn a good moment into a great one throughout the last minute by switching it up into a completely different gear. That’s where “Constant Spirals” flexes a whole dimension of artistic muscle you really wouldn’t expect.
“Tides” would be an obvious single to anyone listening in my opinion. Melodically, it’s super strong, and you really gotta give Joho credit for really hitting the mark with his vocals perfectly here. Getting an absolutely outstanding assist from IIRIIS on the mic, these two are essentially flawless as flawless can be. I’ve explained in the past that Joho is capable of creating a record filled with material like this at any time if he wants to…undeniably universal vibes & all…but that’s never really been the artist that he wants to be. He’s always looking to do things differently than the rest, and again, that’s a quality that should be completely admired. Artistic expression and experimentation always opens up people to more criticism at the end of the day, but it also gives you the opportunity for more true breakthroughs than the average artist or band will ever experience throughout the course of a career. “Tides” is gonna put him more in the realm of sound that people are more familiar & comfortable with for sure, but the results completely speak for themselves too…you couldn’t ask for more than what you get out of the execution in this track from production to the performances – it’s an undeniably stellar single for sure. The backing vocals are mind-blowing, and the way these two singers complement each other’s sound is also something to be commended…great song, incredible hooks, and two artists locked right into it all.
So…yeah…”Tides” would be pretty much impossible for most tracks to follow, let alone “Villains Need Love Too,” which is definitely the cut I’m positive I would have dropped from this massive set of songs in favor of making the album that much tighter overall. Again…I’m not saying that dropping any track would necessarily make it a bad tune – but I’m definitely saying the art of making an album is one of complete and total brutality. You either keep the very best of the best, or you open yourself up to being critiqued by the court of public opinion for this reason or that – and I feel like “Villains Need Love Too” has done exactly that more-so than any other cut in the first half so far. I’m a bit perplexed by this one if I’m being outside honest with the man…I get that it does something unique in the middle as the mix springs to life, but beyond that I’m not really all that sure what we’re doin’ here. Opinions are like assholes though, as they say…and I’ve got one just like anyone else. “Villains Need Love Too” accomplishes the remarkable feat of seeming like it doesn’t have enough to it while also having too many competing ideas at the same time. Confusion is what I’m hearing here more than anything else I guess…but it’s what I’m feeling too…I don’t know how Joho would miss the Grand Canyon’s worth of difference there would be between the songwriting in tracks like “Tides” and “Villains Need Love Too.”
“Empty Streets” has similar potential and DNA to a track like “Outside” – I think it’s gonna be a song that will get a whole lot of attention at the start and potentially prove to wear out pretty quick in comparison to a lot of the cuts that surround it on Black American Scumbag. Not only is the set-list itself gigantic, the songs aren’t on the short side of things either…and that’s a seriously risky combination for Joho or any artist when it comes right down to it. I’d be the first to admit that “Empty Streets” gets stronger the longer it plays on for, but that’s also another spot where some objectivity could be beneficial for the man too…that’s the cue to see if there’s a different approach that might make things tighten up. At the core of it all, I think “Empty Streets” has a great main idea in that 808s & Heartbreak style of sound – but it might arguably also be stretched a bit on the thin side too in comparison to what it could have been. Lyrically, it’s a victory for Joho…it’s relatable, raw, real, vulnerable, open & honest…evocative…moving.
He likes to sing, and so he should, he’s got a great voice and I’d never deny that. I’m not sure what it was about “We Left The Party” that made me feel like it wasn’t quite up to par…I suppose it’s just the difference between the standard of creativity he put on display as Black American Scumbag started with as opposed to a track like this one that doesn’t seem nearly that challenging in that same respect. I can definitely recognize that there’s a lot about “We Left The Party” that could possibly make a good case for being a single…though it probably needs a remix with a more defined beat to it if it’s gonna become one of those. Hooks-wise, I can hear there’s something here…or the start of something maybe…I dunno – “We Left The Party” really feels like Joho dialed-back both artistically and creatively…maybe just a bit too chilled out for this particular record is all. Even when the vibe gets filled in around the 1:20 mark, it doesn’t seem to quite find the spark of inspiration I think we’re hoping it will. Singing-wise, it’s certainly one of Joho’s strongest, and I really like that about it…I guess the song is just a bit on the synthetic style of sound as opposed to the sincerity I usually dig most in the man’s tunes. Ain’t a bad one, just not the fit I was personally looking for…but I suppose that’s the thing, there are like three albums of ideas here.
Joho already knows I tend to be tougher on him than the majority of people out there that will happily rubber stamp everything in this world…so credit where credit is due, he could simply ignore the one guy that’s gonna be critical, but instead he chooses to roll the dice & see what I think every so often. Most of the time, as you can read, things work out. Then there are times like “Aquarius” where he’s missing the mark and I gotta call things out, because that’s what should happen in genuine music criticism. If we’re talking about ideas, then “Aquarius” is a really strong track…I’ve got no issues with it there – but in terms of performance and sound, this is the first cut where I felt like quality-wise, this ain’t it. The potential is definitely there, and I think guest-star Joleisa could still be the right fit too…it’s Joho that’s not quite where he needs to be on this track, and something about “Aquarius” feels rushed in the verses specifically. The main hooks of the chorus would secure a passing grade…but even those still felt like they were missing a little something…the melody is just a bit “out of reach” this time around. Good intentions all-around I’m sure…and as always, there’s a solid idea here, but “Aquarius” needs a whole lot more time in the incubator before this track is ready to hatch from what I’m hearing over on this side.
So with a few ups & downs in that first half, we proceed on into the second. To be completely fair to Joho and for those out there that believe in numbers & statistics & whatnot…dude was closing in on three-quarters of a million hits across his platforms for Black American Scumbag – so what do I know anyhow, right? “Winds Of February” picks up where “Aquarius” left off for me & my personal opinion – it’s another track centered around a strong idea that’s not quite reaching the heights it needs to be. In every crowd of people there’s always a dissenter in the mix somewhere, and I guess that’s gotta be me – “I’m just letting you know” what I hear Joho, take it or leave it as always my friend. Right now I feel like his ambition and hopes for what’s essentially a double-album has gotten away from him a little bit in terms of the focus required to pull it off…but if you look at what I wrote in the first paragraph of this review, the odds were stacked against him from the start. I like the approach he’s taken on “Winds Of February” on a conceptual level…it relies a lot on his vocals, which is great…a bit of organ and piano to go along with it, and drums eventually…but largely, the pressure’s squarely on his shoulders to pull this one off with just his voice. Some of those layers are excellent, and there are a few we hear where the focus is drifting. Idea-wise, I’m just not all that convinced there’s enough to this particular track overall.
Continuing to raise a middle finger to convention, “Don’t Fall In Love” is a ballsy seven-plus minutes in length. Beat & vibe are strong right from the start…vocals are 95% of the way there…hooks are strong enough…lyrics are decent at points…and about two minutes in, I definitely felt the concern about this track being as long as it was. Look…I’ll be real with ya…I find myself wanting to support Joho’s latest more than I feel like I objectively can at times as I’ve been listening…I know he’s built up a tremendous amount of excitement around it, and like I’ve mentioned, I know he’s out there touring the record all over the place. Do I think he’s put out stronger material in the past? By the time I’ve reached track fourteen, I gotta admit that the answer is yes…yes I do. I think I’m hearing a lot on “Don’t Fall In Love” and in this album that does make it built for live performances – and that can be a great thing. In the case of a recording, we hear that 5% where he’s missing the mark and naturally wonder why he’d rush things – but onstage in a live setting, no one ever questions things when they’re slightly off – it’s expected from even the best of the best. “Don’t Fall In Love” has the potential to be a really BIG live moment if you’re feelin’ the vibe for sure…but I’m not hearing an idea that warrants the length here on this recording. It doesn’t have that outstanding level of uniqueness you’d find at the beginning of this set, we’re starting to feel that fatigue come in…and we’ve still got a long, long way to go with this lineup. I hold the man to a very high standard, always have, always will, because I know precisely how great he can be. There’s still a whole lot of work to be done though if he’s gonna level-up professionally though.
Dude needs a significant and undeniable win…it feels like it has been a while on this record since I heard a song I know everyone would universally agree on. “We Don’t Talk Anymore” does get a bit closer, but still didn’t quite reach that level. Some harmonies that could be sharper for sure, and an idea that’s a bit on the thin side again. “We Don’t Talk Anymore” feels like the kind of song you write when you discover that main hook you find in the title, and then scramble to assemble something around it before realizing that it’s not quite as bulletproof as you originally thought. I think there’s stuff in the verses that I’d likely advocate on behalf of more-so than the way the chorus hook came out…this just didn’t seem to reach the heights of its potential, or feel like it grasped onto the spark of inspiration that would have seen it be created in the first place. I like the music…there’s some good stuff in there…and with a bit more life in its veins, “We Don’t Talk Anymore” could totally go on to become a powerful tune…but Joho’s gotta embrace that with the same confidence he brought to the beginning of this album, and really let it RIP.
When I heard “Lucy” I almost smacked my keyboard beyond repair with my fists. Twenty-four tracks brother-man. Why? Being too close to the material sometimes ends up creating such an enormous lack of objectivity that it’s seriously amazing. I ain’t here to shit on anyone’s material, but I’m not here to tell someone that has the extreme gifts and capabilities that Joho has, that they’re hitting the mark when they’re not either. The rap verse in the middle of “Lucy” works well…but objectively speaking, the rest is so wide of the goal that I gotta admit, I am actually surprised. Joho’s got ears on his head, they function, and they work just as well as any others out there do…and he’s gotta be a lot more brutal on himself at the end of the day if he wants to get where he wants to go with his music and career. 95% ain’t gonna cut it when he should be demanding 100% out of himself at all times…and “Lucy” falls much shorter than a percentage that large. Like I said…at this point, I’m kind of shocked…there’s a whole lot of buzz around Black American Scumbag, I’ll be the first to admit it…but I’m not really sure why that really is yet.
I’ll put it to you this way – I was like, mere seconds into “Shoegaze Sally” & knew he was onto something with this track…this is the win that we’ve been looking for, and it’s obviously from the moment that we PUSH PLAY. There’s a difference between material we think is a good idea, material that we haven’t quite connected with or rehearsed enough, and songs like “Shoegaze Sally” where you can hear that Joho has found that level of inspiration and spark that makes music special. If he wants to argue that out with me and tell me that the rest of the material I’ve been doggin’ has what this song has, I say bring it on – I’m ready for that conversation any time. You critics and reviewers out there, that wanna print up stuff that says the songs on this record reach that same strength as “Tides” or “Shoegaze Sally” too – feel free to hit my DMs and send me your justification, because I’d love to hear it. When Joho gets it right, EVERY SINGLE ONE OF US knows it…the dude is capable of creating incredibly universal vibes, and I’m tellin’ ya, when he DOES, there is NO ARGUMENT to be had about it. So my inbox will remain the dead-zone that its always been…because there is no argument to be had…we all listen to a track like “Shoegaze Sally” the same way – and THIS is the level of extraordinary awesomeness we wanna hear from our hero here. Anything less and we’ve all got a responsibility to push him to the greatness we know he’s capable of rather than merely tell him he’s done a good job…he deserves honesty & nothing less. I’ve proven year after year that I’ve been willing to be that guy regardless of whether or not he even likes me lol…I just want the guy to be the chart-topping artist he was born destined to be, full stop.
Same applies with “Inside Your Mind” – mere seconds once again…you KNOW he’s onto something that is gonna rock, right away with this track. Not too often that you’ll find a record where an artist or band is hitting their stride around tracks seventeen and eighteen, but here we are. I’m not gonna quite go as far as to say “Inside Your Mind” is quite up to the level of the record’s greatest like “Tides” or “Shoegaze Sally,” or even the level of innovation you’ll find in the first five tracks either…but it’s pretty freakin’ close to being real competition for your favorite track on this album if you ask me. What stops me from saying that “Inside Your Mind” doesn’t quite reach the pinnacle of Joho’s awesomeness, is that you’ll probably feel the same way I did about it – it starts stronger than it actually finishes. Dude’s falsetto notes at the start are nothing short of remarkable and a real hook of their own…but where he had the opportunity to really blow the roof off the place in the finale, it seemed like he dialed back his energy instead. Nothing so detrimental that I’d ever stop listening to this tune – I really think it’s a great track overall still, but like so much of what Joho creates, I hear the opportunity for him to make things even greater. Does that make me a bad guy? Am I the villain? If so, then so be it. I’m always gonna be THAT DUDE that’ll tell an artist with the talent like Joho has that they should USE IT to its complete potential – and if you’re not doing the same, then you should be! “Inside Your Mind” works out really well for him.
When things go right for a bit too, we tend to accept things more when they drift a bit. For example, I think there’s a little bit here & there about “Shining Star” that I’d probably wanna get back in the booth for if I was Joho, but not too much. For the most part, this was another track that worked out really well from start to finish…what few corners I’d recommend tightening up do not seriously affect how I feel about “Shining Star.” If that’s because I’m in a better mood after Joho having had a few great tracks in a row, or the reality being that the few tiny flaws in “Shining Star” aren’t that big of a deal…honestly, I don’t know, and I don’t know if it really matters. That’s my point…we accept things more when things are going right…we don’t hear that 5% we’d wanna change as much in any scenario…and to be completely fair to the man, it’s more like 2% in the particular case of this cut here. “Shining Star” almost brings it back towards the innovation at the beginning of the album, with a bit of the accessibility you’d find in some of its best…this cut meets in the middle ground between those two aspects of this record.
He’s got a lot of tracks that deal with the perception of how other people view him and what he does. I don’t know much about that…maybe he goes through that a whole lot more than any of us realize and people are consistently talking shit about him – I honestly have no idea. Maybe he’s a lot like Durant and needs that adversarial feeling to be at his best to compete…it could be that too. Maybe it’s very real, and he still gives the haters too much real estate in his head and certainly in his material – it could be any of these things when it comes right down to it, and only he really knows. All I can tell ya is that it sure seems important for him to address this stuff in his music…which I think is generous of the guy. If I was Joho and I had haters…lol…I would very much be like ‘who gives a flying fuck?’ Hopefully he knows who’s really riding with him and who’s not…again, I don’t know one way or the other – he might even include a guy like me trying to help him out as a hater for all I know. “Limelight” is a good cut overall – he’s on his aggressive shit here, and again, probably giving too much space to the haters whoever they are…but I ain’t complaining when it comes to the quality of this track, I felt like he got this cut correct. It’s a versatile cut on the record and really gives you a multi-dimensional tour of what makes Joho great.
“The Emotional Impact Of Your Actions” borrows a bit from past Joho tunes, but not in such a way that most people would notice. JUST US DEDICATED FANS, that’s all. You can hear the tie-ins between the melody and actually some of the lyrics too if you’re paying attention. In any event, I’d definitely be inclined to put this track up there with some of the best I’ve heard from him on this record without a doubt…I think it’d have no problem at all workin’ its way into the top five for sure. Again, some of his most versatile moments really lead to his best results – dude’s puttin’ in the work and bringing personality to his bars, and when he sings, he’s absolutely 100% on-point with every note & tone you’ll hear from the lead to the background. Writing-wise, it’s a quality song…still a bit of real estate being given to the doubters & haters out there in this one too, but all-in-all, I’m not complaining about a damn thing here – I feel like this low-key vibe represents one of the finest highlights & tracks I’ve heard on Black American Scumbag.
While he’s never got a problem telling you he’s the best to have ever done it when it comes to what he’s capable of as an artist, when it comes to love, he’s always been the first to admit he can probably tweak a few things to do those better, which you’ll find him doing on “(Maybe) I’m The Problem.” Solid track for the majority…I’ve said my piece on the 2-5% and he’s heard that from me, so I’m gonna leave all that where it is and assume he knows what I’ve been referring to & how it would apply to this track a bit too. Writing-wise, I think he’s got a solid track here…I’d probably bring the music down a bit at the start and the vocals up a little, but I get what he’s going for there. I ain’t worried about that kind of stuff at the end of the day – to me, it’s all about intentions and potential, and he’s got those workin’ in his favor on “(Maybe) I’m The Problem.” Self-reflective, observant, and even somewhat inspirational at the end of the day…”(Maybe) I’m The Problem” has that finale type of feeling to it, but yessir…still more to come.
I like that it feels like he’s trying something ELSE that’s new on “Throne For Two” with a kind of old-school Soul/R&B approach. I don’t know that it completely worked, but I don’t really feel like it didn’t either…somewhere in between those two poles I suppose. For the majority of this track, I’m with him. I’m not gonna be the guy to say that this album wouldn’t have been complete without it, and I’m not gonna be the guy to say it came out perfectly either…in fact, the longer it plays on, the more it seems like “Throne For Two” really gets away from Joho. For a good ninety seconds though, I felt like he was cruising his way to a track that was going to earn its place on this record…but after that, it gets very dicey if I’m being real with ya…and I’m still not quite convinced that it HAD to be on a record as GIANT as Black American Scumbag is. Best advice I’ve got here is to watch those layers my man…one wrong ingredient can throw even the best recipe right off…and I feel like that’s probably the case with this one. What I DO love about “Throne For Two,” and largely just about every Joho record I can think of, is that he’s always trying new things. With experimentation naturally comes criticism, but he’s never been afraid of that in the pursuit of his art & doing what he loves…and you better believe I fully respect that.
He wrote twenty-four tracks for this record, and now there’s a mini-novella to prove it existed through all I’ve written about it here. “Fade” makes great use of his vocals and the layers are much more on-point in this final finale, which is a good way to go out for sure. Would I argue that “(Maybe) I’m The Problem” would have made for a more conclusive ending? Probably, but at this point, one more tune on the pile ain’t gonna be something we end up complaining about…not when it thankfully comes out as strong as “Fade” did. LOVE the way that he stripped everything back at the end to prove once & for all that he really can sing with the best of’em when he’s focused and right on target…I thought the ending for “Fade” would rival some of the strongest performances he’s put into any section of this enormous record. There’s not a doubt in my mind that ambition and getting caught up in the moment gets the better of Joho when it comes to this lineup of songs overall…he’s revealed some cracks he hasn’t normally shown us in between the greatest cuts in this set-list, and I’ll admit, that’s a bit surprising. That being said, like I was tellin’ ya earlier on, listeners have been tuning-in from clear around the world to this latest record and he’s probably closing in on a million of’em right now as I write this – so again, what do I know? I’m just among the most dedicated of them, that’s all. I’m just among the people that believe in Joho more than most, that’s all. He gets to be the judge and jury on what opinions matter and which ones don’t, as always. Don’t get it twisted though y’all…this record might not be the step forward for him that I was hoping for, but I still support this guy in every conceivable way, and absolutely remain just as much of a fan of Joho as I’ve always been, and unshakably as convinced of his future greatness.
Find out more about Joho from his official website at: https://www.johomusic.com
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