MJayNumberOne – SUMMERtime POPsicles

MJayNumberOne – SUMMERtime POPsicles – Album Review

Hmmmmm…

Alright…from what I understand, the majority of the tracks you’ll hear on SUMMERtime POPsicles by MJayNumberOne trace back about a decade, so perhaps it’s only natural that the opening track “Summatyme (Oh Yeah!)” sounds like it came right off one of the early Afroman albums.  Though, to be as accurate as I can be, Afroman would have already been about fifteen years into his career about a decade ago…so maybe “Summatyme (Oh Yeah!)” more closely resembles the legend post-hype, after he stopped worrying too much about big budget production and just focused on having fun instead.  In any event, I suppose ya get the point – the first impression you’ll get from pushing play on this record is that MJayNumberOne is creating music based more on personality than anything else, and that’s cool with me.  He self-produced SUMMERtime POPsicles, and to his credit, you can listen to these tunes without feeling like it’s too far on the low-budget side of things…a song like “Summatyme (Oh Yeah!)” could be shinier and it certainly wouldn’t hurt it, but for the most part, MJayNumberOne has things sitting in the mix around the right area you’d want’em to be.  I swear the Afroman influence is a real thing…he might dispute that, I honestly don’t know, but to me, if you’re listening to the details in the backing vocals and how you can audibly hear MJayNumberOne crackin’ a smile as he raps…the comparison is fairly obvious.  Does he have a song here in “Summatyme (Oh Yeah!)” though?  He’s got some exceptional ideas, and I feel like he knows his way around a hook too…but yeah…my gut tells me this track still needs a bit more of a polish on it than it currently has.  He’s peakin’ a bit in the lead vocals at times, the music could be a little more dynamic than it is repetitive…there’s room to sharpen his craft, but it’s still a decent start.

Wait – did he just songify his album?  Was that still a thing a decade ago?  Alright…so look…I’ve never been the guy to hate on autotuners and vocal effects, and I’m not about to start being that dude now.  I don’t mind the sound of what you’ll hear in the hooks of “Ain’t Gon’ Stop Us” featuring P.S., though I’d still recommend finding a way to get it sunken in further into the mix so that we don’t hear it as a separate inclusion so much as another part of the song, you know what I mean?  Where it sits in the mix right now, it’s like you can feel the autotuned parts of “Ain’t Gon’ Stop Us” comes with its own air and atmosphere, which honestly clashes a bit against the clarity of the rest of the song more than they’d probably like it to.  Not a bad song though…the hooks are strong, the ideas are solid…the music is still leaning heavily on doing what it does and relying on the emcees to bring the versatility to your speakers, but both P.S. and the main man on the mic do a solid job of delivering a quality performance.  I’d likely be looking at mixes where the music is up more than it has been to envelop the vocals a bit more…that might fix the issue of feeling like we’re hearing separate parts individually, but it also might end up shining a brighter light on the repetition of the music.  Hard to say what they’d want outta that for sure, but I guess we can assume MJayNumberOne made his choice in that regard already too.  All-in-all, I can get behind most of what I’m hearing on “Ain’t Gon’ Stop Us” even if it still needs a little bit of a tune-up.

My responsibility to the artists and bands I listen to and review on these pages is only to be honest with them – that’s it, that’s all.  I gotta call things like I hear’em like I always do.  “Thinkin’ Bout U” needs a lot more work than has currently been put into it.  Do I like what I hear in the ideas at the core of the song?  Yup!  It’s definitely a song worth saving, but it desperately needs a lifesaver thrown to it.  Enlisting the assistance of La-La-Leone was a good call overall – but this ain’t the performance we’re lookin’ for.  She’s got a lot more potential than what we’re hearing, and if MJayNumberOne is going to be the one producing his material, then he’s gotta understand that can come along with a lot of hard conversations.  Because I ain’t saying that La-La-Leone can’t sing – she obviously can, and she gives you many highlights in the hooks of “Thinkin’ Bout U” – but the performance she’s put in is also far from perfect, leading to an imbalance on this cut that threatens its listenability.  So…if you’re MJayNumberOne, that’s simply a matter of sayin’ we gotta get back in the booth for another run through – honestly, it’s a black & white thing…no judgments need to be made, it’s just about getting your best on a record, full stop.  And unless you’ve got a bunch of suits and ties breathing down your neck saying the album needed to be released yesterday so they can ship out crates of your album to Japan and Canada as per the schedule…then c’mon y’all, there’s always time to redo something if you need to as an independent artist.  Where my frustration creeps in a bit here, is that if these songs DO trace back a decade…then I’m not sure what could have prevented MJayNumberOne and La-La-Leone from getting this cut to where it needs to be with all that extra time.  You’re never going to hear the 95% of a track that’s gone right in a situation like this…you’re only going to hear the 5% that didn’t work as strongly as you know you could have made it.  All the ideas are great, and “Thinkin’ Bout U” could even go on to be a single if it was fully polished up.

Of the first four tracks on the album, I’d probably tell ya that “No Regrets” is the closest to where it needs to be in order to please the masses out there when they’re listening.  I’m not saying it’s my favorite cut of the first four – that’s a different conversation and it would produce a different answer – but in terms of the mix and production and performance and all that, this track’s the most even keeled.  I’m still gonna be THAT DUDE and tell MJayNumberOne that he needs to get under the hood and be a bit more brave with the music & the beats he’s using…there’s so much room for him to evolve in his craft in that respect, and it’s simply about doing a bit more than letting the repetition reign supreme.  By switching things up a bit more proactively, he’ll give himself the opportunity to DO MORE than he’s doing and flex the creativity we know he’s got in him.  As it stands, don’t get me wrong, when you choose a beat that’s got the vibe like you’ll find on “No Regrets,” most of us won’t be caught complainin’ – but I think deep down he knows what I’m talkin’ about.  Right now, he’s locking a beat into place, pushing play, lettin’ it spin, and that’s pretty much all there is to it.  You hear the results – ultimately, you can still go that route and have a decent track on your hands like he’s got with “No Regrets” – but it’s my job to come in and challenge the guy to not let it all be that simple, and push him to be even more creative if there’s opportunity.  Spoiler alert, there’s almost always more opportunity somewhere.  I’d still be looking at “No Regrets” as a potential single though; it’d make a good gateway into the album.

Solid roll between “No Regrets” and “BAM!” coming after it…that’s a strong point on SUMMERtime POPsicles that has MJayNumberOne revealing his verbal potential in a much more noticeable way.  I mean…like I’ve been tellin’ ya from the start, the dude clearly knows how to go about creating a hook that’ll resonate with the listeners out there, and now it’s just about making sure everything else he’s doin’ can hold its own by comparison to that skill.  I listen to the chorus and hooks of “BAM!” and I’m more than stoked about what this dude is capable of.  I hear spots like what he spits on the bars around the first minute of this track and I do want more outta him…more confidence, more conviction, more power to go with the natural swagger he brings to the m-i-c, but he’s real damn close to getting the max potential out of a track like this one.  Again, I don’t think anyone out there is really gonna complain all that much about “BAM!” and make no mistake, I’m not either – I’m just giving the guy things to consider for when he goes to make that next record and pointing out what he can build on.  As it stands, I’d listen to “BAM!” and “No Regrets” without hesitation…the ideas that he’s rockin’ with are stellar for sure.  The way he uses his words in the main hook are a serious treat to hear…he’s locked right into the vibe there.

Alright – there you go…you can hear the effects of music with a bit more dynamism to it on “(I Need A) Bad Gurl (East Coast Remix)” – this is about as single-worthy as it gets and an absolutely killer reason to give this album a spin.  There’s still room for MJayNumberOne to add a bit more cohesion between the music and the vocals to bring them together so that we don’t hear the separation too much…but…credit where credit is due y’all, “(I Need A) Bad Gurl (East Coast Remix)” pretty much checks every box for a verifiable WIN.  The energy is up, the focus is there, the material is bulletproof…I mean…I’d be a fool to complain about what I’m hearing on “(I Need A) Bad Gurl (East Coast Remix),” so I won’t!  I’d be willing to bet the farm on this track becoming an instant favorite with listeners out there – that’s how damn good it really IS.  Now the real trick for MJayNumberOne is to go back, figure out what made this whole performance different and stand out like it does, and use that as the blueprint as he goes forward from here.  Solid beat, interesting music, and an emcee that sounds absolutely HUNGRY for the mic – I love it, and this is the standard I want the dude to hold himself to!  The vocal sample he’s used for the hook is brilliant too…he’s got all the right pieces in the right places on “(I Need A) Bad Gurl (East Coast Remix).”

Naturally, with such spectacular results on what we just heard, it’s the next track that ends up having some of the biggest shoes to fill – and “Broken Wingz” doesn’t quite have what it takes to measure up.  What’s driving me crazy is that both MJayNumberOne and I have the same kind of ears up on our head – he’s hearing things the exact same way that I am, and he’s not being as brutally objective as he needs to be if he’s going to be pumpin’ out records.  It’s unfortunate that this step backwards once again seems to feature La-La-Leone…honestly, I feel like she just needs more confidence when it comes time for her to perform and to be leveled with if a performance doesn’t rise up to what she’s capable of.  That’s where the role of a producer becomes about so much more than twisting dials on the studio boards – you’ve gotta be ready to be the bad guy sometimes and just tell it like it is.  Like I was tellin’ ya earlier, no one needs to be offended…there’s a goal in place of getting your best onto a record, and the key is to not settle for anything less.  I’d be the first to tell ya that La-La-Leone can definitely sing, but I’d also be the first to tell ya that the two tracks where we get to hear her on this record aren’t doing her justice.  I like most of what MJayNumberOne is doin’ on this cut…the Spoken Word ending fits well…but yeah…if we gotta assess “Broken Wingz” as a track from start to finish, there’s no doubt that it’s way too uneven.

“Music In My Blood” is basically the statement cut on what’s got MJayNumberOne doin’ what he does to this very day.  A self-professed music addict – you creative types know how it goes…music becomes part of your DNA and you don’t just make it because you want to, but because you NEED to.  This track goes into great detail about what has influenced MJayNumberOne throughout the years, and if you’re listening closely, he’s pretty much included a reference to just about every genre you can think of.  Respect!  I’m all about it.  I’ve got love for the best of the best in all genres, because greatness translates every time and transcends past any stigmas that would have you listening to one type of music over another.  “Music In My Blood” is like MJayNumberOne’s love letter to the gift that music has been to him on a personal level, and this track has him giving back to the art through his own contribution.  I’ve got no real notes here…this cut is alright with me…I dig the lyricism in the verses and the slick references he’s laced into the words along the way.  The more you know your shit and the history of music, the more you’ll get out of this track.  All-in-all though, the personality shines through here…he’s genuine in what he says, and he’s highly creative with the way he’s gone about sayin’ it.  It’s a solid cut all-around.

It’s about puttin’ yourself and your homies in position for victory though.  When I heard “Impossible” start up, I got that sinking feeling in my stomach again…MJayNumberOne is featuring another guest star in the set-list, and it’s another track that seems to go off the rails when it comes to the focus it needs.  You can hear it right from the get-go – C-Note is another dude that can sing, but he’s drifting in & out with his energy as he’s singing “Impossible” & missing a bit in the precision he needs with split-seconds in the music tripping him up here & there.  Beyond that though, Mr. Producer has gotta be on top of his own game…and to be honest with ya, he’s gotta be a lot less friendly when he’s got a guest star on the track.  In the case of “Impossible,” he’s got C-Note sitting so far above the mix on the music that the dude is practically out there naked and forced to carry the weight of the entire song on his own…and this ain’t the performance that’s gonna be able to do that.  So you look at it from the angle that this likely occurred – MjayNumberOne heard the talent of C-Note, genuinely wanted to feature that on his album (cause he’s a good dude and likes to collaborate…all good intentions), and then went & pumped up the vocals well-beyond the music, which is already a pretty sparse beat as it is.  The effect of those choices leaves his friend with nowhere to hide though…and so, a decision born out of good intention it may be, but the results end up leaving the guy high & dry if everything doesn’t come out 100% flawless.  This track is a stellar example of how having the right pieces and the right talent still isn’t always going to be enough on its own…”Impossible” needs a whole lot more work in order to reach the level of fluidity it would need to be as smooth as its intended to sound.  Worth revisiting though – I do like it, I just think they’re barely scratching the surface of what it could be, and it’s still an idea that’s incubating.

What do I think of “Lonely Dayz (La La La Version)?”  Good question!  I think it sends a grey-beard like me back to the days of handheld Tetris on Gameboy with the sound of the melody on top of this tune, but I ain’t hatin’ on it!  I don’t know that MJayNumberOne is gonna secure a highscore with listeners on “Lonely Dayz (La La La Version)” either, but I’d reckon most folks out there will dig what they hear in this track.  There’s uniqueness to this song, and my ears appreciate that.  You’ve also got an emcee that sounds like he’s focused and locked into the moment, which the performance reflects.  It’s a tight track all-around, and one where I think you could potentially even argue that the bars of the verses rival what you’ll find in the main hooks in terms of the appeal.  Like, it’ll be the chorus hooks that you come out remembering most at the end of the day, and I get that – but if we’re talkin’ about the quality and strength of each individual part in this song, you’ll find “Lonely Dayz (La La La Version)” is impressively well-balanced from start to finish.  That’s no small accomplishment y’all…MJayNumberOne put the work into a track like “Lonely Dayz (La La La Version),” and in my opinion, you can hear it in all the right ways.

Armed with an old-school flow on the mic throughout “While I’m Young/ #Work” and music that’s built with a much more modern design…honestly, there’s a lot about this particular track that reminds me of the innovative genius you’d find in something like what producers like William Hutson and Jonathan Snipes create in clipping. for Daveed Diggs to bust rhymes to.  Fairly minimalist overall, but maximized through the focus being applied to every ticking second – MjayNumberOne gets his energy right on this track and creates a potently compelling cut to listen to.  Whether it’s the socially-aware lyricism, or the way that he expertly weaves between personal details and comments that would be relatable to all of us listening, “While I’m Young/ #Work” makes an undeniable impact in this record’s lineup of songs and perfectly finds the space in between real craft and accessibility in a way that’ll keep us all listening close.  Probably one of my favorite cuts on this record when it comes right down to it…everything works, 100%.

I get it man…the idea of partying every day sure sounds great, don’t it?  Then you end up in your forties like me one day, in the middle of a run of five major concerts in ten days, and you’re freakin’ exhausted from all the partying.  Would I change it?  HELL NAH!  I’m just sayin’ it gets progressively harder to keep up to everything you wanna do, and real partying is a young man’s game.  Anyhow.  “Wanna Party (Dance Remix)” works out well for our hero here…it’s got the juice, and presents itself as the anthem you wanna put on to motivate you as you get ready to hit the clubs on the weekend.  Much in that same way that fighters and athletes still put on “Lose Yourself” before the get into the ring or the arena, I could see the party scene out there putting on “Wanna Party (Dance Remix)” before they attack the bar.  You see y’all?  I’m nothing but objective and fair in what I review.  I might seem like I’m being a hardass at times, but it sure makes it easy to understand what I like & what I think works well too, right?  I think SUMMERtime POPsicles started off on a bit of shaky ground, but MJayNumberOne has demonstrated many times throughout this set that he knows how to create material that connects when he’s at his most focused.  Might need to buckle down a bit in that regard & party a little less to make that happen potentially, but the point is that the man is more than capable of generating cuts you’ll want to listen to.  “Wanna Party (Dance Remix)” doesn’t need me to advocate for it…most people will dig this right away.

Does the bass-heavy sound of “Wanna Party (Dance Remix)” end up affecting the way we hear the next track, “My Favorite?”  Definitely!  He dials back the low-end to a much thinner vibe on “My Favorite,” which might take a second to adjust to, but that’s alright.  I actually like the music on “My Favorite” quite a bit if I’m being real with ya.  I don’t know that I love the rest of it or that we’re getting the best we can get from MJayNumberOne on the mic in this particular track, but it’s not a bad track.  I suppose I feel like the material itself doesn’t quite measure up to the rest you’ll find on this record for the most part…there’s a sweetness and charm that has some appeal here, but it’s lacking a bit of the potency we need for a song to stand out and be as memorable as it should be, in my opinion.  Yeah…I dunno…I feel like it still belongs on this record, which is a good thing.  At fourteen total tracks on this album, there is definitely room for the man to be more objective about what makes the cut and what doesn’t, and I would have cut at least a few up to this point in the record, but “My Favorite” can stay.  I’m not gonna be the guy to say that it’s the strongest track on the album, because I don’t think that’s really the case if I’m being honest with ya…but I’m not opposed to its inclusion either.  Of all the tracks on this album, as I listened to SUMMERtime POPsicles throughout the week, I warmed up to “My Favorite” more & more.

Did the man lose his mind at the end though – or is he more sane than ever before?  I don’t know how I feel about “Summatyme (Autotuned Remix)” – I felt like the verses on this last track outshine the main hooks by a HUGE margin…at least at first.  That being said, the hooks are still the hooks, you feel me?  There’s no doubt that they’re probably going to be what most listeners remember about this track with their odd autotuned melody…BUT…all I’m saying is that you get a killer performance from MJayNumberOne that has the weight of something you’d hear from Black Thought…he’s got precision, power behind his words, swagger in his movement – the kind of CONFIDENCE you wanna hear.  And now I kinda want him to go back and apply whatever he’s doing differently on this track to the rest of the record!  Us critics…I tell ya…we’re just a bunch of assholes that want it all and at all of the times…like the artists and bands can just snap their fingers and make it all magically happen, right?  I hear ya.  If it was that easy, everybody would do it, I assure ya.  The reality is, making a record is hard…there are ups & downs over the course of any album.  MJayNumberOne has generated a fairly solid lineup of entertainment overall, and it’s got some significant highlights that he can build on as he goes forward from here.  “Summatyme (Autotuned Remix)” made for an interesting and conclusive ending to SUMMERtime POPsicles…encouraging enough to look forward to whatever this dude might come up with next.  I’ll give him this…the balance & mix on this last cut was surprisingly stellar, and it’s another track that seemed to keep growing on me the more that I listened to it.  MJayNumberOne kept us guessing from track to track on this record & created a lineup of tracks that might have been unpredictable, but designed in a very entertaining way.

Find out more about MJayNumberOne from his main website at:  https://mjaynumberone.com

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