With Seinfeld physically present for the recording of TAAN, he acts as Wale’s needed elder advisor and a spiritual guide towards the next phase of his career. In the past, he’s served as a conduit for Wale, allowing him to first score critics’ attention with The Mixtape About Nothing, then hit the reset button on his career with 2010’s More About Nothing mixtape after being dropped from Interscope. Cole, Jeremih, SZA, and Usher - none are more important than Jerry Seinfeld. Of all the guest features on The Album About Nothing - J. This obvious radio bait is the album’s weak link, especially when compared to the “The Girls on Drugs,” which samples Janet Jackson, and “The Need to Know,” which features SZA referencing lyrics from Musiq Soulchild‘s “Just Friends.” Both serve the same purpose as “The Body,” yet are far superior. Kelly‘s 1995 hit “You Remind Me of Something,” prevents Wale from sticking the landing. However, the unimaginative “The Body,” which lifts the comparison of the female anatomy to an automobile from R. “The Bloom (AG3),” “The Matrimony,” and “The Body” play out like the proposal, wedding and wedding night.
The Album About Nothing concludes with a trio of love songs. Meanwhile, “The Glass Egg” hovers over a melancholy Isaac Hayes sample on which Wale struggles to stabilize fragility at a great height. Producer Jake One’s expertly-chopped drum fill accents Wale’s confirmation of this insight. On the former, Seinfeld warns Wale that “success is the enemy,” as it initiates a constant cycle of trying to top yourself. The intense devotion to his craft makes him exceptionally vulnerable, and why he focuses on criticism rather than praise.īoth “The Success” and “The Glass Egg” deal with the difficult balancing act that accompanies accomplishment. This makes “The Pessimist” the perfect title, as it exhibits Wale’s knack for constantly finding the one thorn in a bouquet of roses. He refers to fame as “America’s dream and nightmare in the same being,” as he again surveys himself and his status in the mirror. Cole-assisted “The Pessimist,” he examines the toxins which poison the black community, from the narrow path leading black men straight to jail to the delusive veil of prosperity. Reuniting with past collaborator Osinachi on the J.
Wale’s retention of popular culture and cognizance of what’s going on in the world has always bled into his music. Wale Opens Up About About Drugs, Depression & Seeking Respect: ‘I’ve Been Through Shit’
Even as a fan of the sneaker culture, Wale sees the fault in equating the pristine shine of white sneakers to status. He reflects on urban environments where “the sneaker stores and laundromats get all the money/ Cause it ain’t about what you’re doin’, but how you’re lookin’.” The mixture of tender keys, gliding synths, and crisp snares make Wale’s association of self-esteem precise.
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Through this soul-searching, Wale is now better able to connect with listeners by relating his personal issues to those plaguing the masses.Ī sneaker connoisseur, Wale uses the Pro Reese-produced “The White Shoes” to analyze the correlation between confidence and material possessions. Where that hunger previously compelled him to seek comfort through the approval of others, he’s finally learned to look inward for satisfaction. On the “The Intro About Nothing,” he reveals that fear of complacency fuels this restlessness over piano keys which build into an explosion of percussion: “Still my hunger’s like a fuckin’ model at a buffet.” This is both The Album About Nothing’s thesis, as well as the theme of Wale’s career. Music has long been Wale’s therapeutic method of releasing his demons of self-doubt.
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