Chance The Rapper – Coloring Book
Released May 13th, 2016
During the wild, chaotic run-up to the release of The Life Of Pablo, Kanye West announced that it would be a “gospel album”, inspired by the African-American tradition of blending worship in church with soaring choral music that God himself might hear. Despite the label, the only gospel moments on the album were the admittedly brilliant opener “Ultralight Beam” and “Lowlight”, an intro to the more traditional (and Young Thug guesting) “Highlight”.
Fellow Chicago musician Chance The Rapper was on the former, and it’s Chance The Rapper that is now bringing out what ‘Ye promised: a full-on gospel hip hop record, embracing the worldliness of life in often-violent Chicago, and simultaneously the glory and life guide of his religion. Rather than the lysergic uncertainty of his breakthrough Acid Rap, Coloring Book finds a man confident in his faith and in sorrow for his city and his people. “Blessings (Reprise)” has him saying “They never seen a rapper practice modesty, I never practice, I only perform”, and this serves as a good overarching theme for the record as a whole. It’s an album that stands in direct contrast to the nihilistic, violent drill scene that Chicago is known for; rather than a finger-waving sermon, though, tracks like “Summer Friends” seem to offer a prayer for those caught up in the summertime violence that is endemic to the drug and gang-ridden city streets. The problem with overtly “Christian” artists is that the music often seems to take a backseat to the message; they’re so concerned with connecting with “the kids” that they don’t take the time to actually figure out what makes the secular music so appealing in the first place. Chance succeeds exactly where “Christian rap” or “Christian rock” fails: he lets his faith infuse his music, rather than supersede it. He’s intensely relatable, even when you’re outside of the continuum of his experience.
Even better in this day and age, Chance is staunchly independent. He doesn’t need a label, and he doesn’t need to sell his album just to fulfill label quotas. Coloring Book is free, and as such it’s technically classified as a mixtape. It’s a subject he addresses on “No Problem” with Lil’ Wayne (no stranger to label problems himself) and “Mixtape” (with ultra-prolific fellow mixtaper Young Thug), but it’s also a subject he brought up originally on “Ultralight Beam”: “He said let’s do a good ass job with Chance 3 / I hear you gotta sell it to snatch the Grammy / Let’s make it so free and the bars so hard / That there ain’t one gosh darn part you can’t tweet”. Mixtapes are ineligible for Grammys, and if there’s an album that deserves a Grammy it’s Coloring Book – a fact that perhaps led Chance to release it on DatPiff and then shortly after make it a short-term iTunes exclusive. Nonwithstanding whether having it on a paid streaming service makes it “for sale”, Chance’s Twitter fans ended up tweeting all of the lyrics to Coloring Book. They’re a loyal group and Chance is the sort of artist to reward them for their loyalty with both quality and (between his own work, his guest spots, and his gig fronting Chicago experimental pop group The Social Experiment) quantity.
Chance deserves to be mentioned in the same breath as the other giants of modern hip hop – your Weezys, Drizzys, Yeezys, K. Dots, et al. He’s got a killer flow, has a Kendrick-like appreciation for intricate wordplay, and has the ability to ride a vibe for all it’s worth better than pretty much anyone else. In a genre dominated by a careful balance between artistry and crass mercenary sales grubbing, Chance takes the left hand path and is all the better for it.
AND THE REST…
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