Vince Staples
Dark Times
Blacksmith/Def Jam
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The world is Vince Jamal Staples’ oyster. The Long Beach resident is widely regarded as one of the most gifted rappers of his generation. He’s signed to Def Jam Records, through which he has released a deep and acclaimed discography over the past decade. Earlier this year, he partnered with Netflix to create The Vince Staples Show, a five-episode series based on a fictionalized version of himself and his surreal misadventures while living in Southern California.
But as we should know, appearing to have it all isn’t a guarantee that it’s all good. Vince Staples is a funny and charismatic guy, but a lot of that humor and charisma is leavened with a jadedness that comes with growing up surrounded by turmoil. With Dark Times, his sixth album, Staples delves into the feelings of emptiness that persist in his life and deep psychological issues that he continues to work through. It’s arguably the best project of his career.
As the title suggests, much of Dark Times is tinged by melancholy, as loss and existential dread weigh heavy on Staples. And like much of his other material, his past involvement in gang culture informs much of the project. He ruminates on the environment that raised him on “Black&Blue,” recalling the culture of poverty and violence that surrounded him. He considers both dead friends and deceased rap icons, and wonders what the future holds for himself. “Learned Reaganomics and ran it up, we don't got nothing to show for,” he raps. “Infatuated with folklore and we still on some n***a shit.”
Staples contemplates his own mortality on “Government Cheese,” cognizant of the frailty of life as he watches friends and family members die and/or lose their freedom. The importance of his success weighs heavy upon him, knowing that he supports his family and friends. “See, it's hard to sleep when you the only one living the dream,” he raps. “Hard to leave n****s hanging when you the money tree.”
At times, Staples wrestles with the effects that his musical success has had on his life. He deals with his persistent uneasiness with fame on “Children’s Song,” wary of how some choose to interact with him. “Nothing Matters” finds him sorting through mental conflicts, wondering whether his success has really earned him freedom. He remarks how bringing joy to others doesn’t always make him feel satisfied, rapping, “But baby, everybody love me, I’m a joint / Still, my heart is hollow, I don't mean to disappoint.”
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Staples describes continuously feeling like an outsider on “Etouffee.” Feeling out of place and still misunderstood by his record label and some of his fans, he envisions himself as a New Orleans rap-inspired alien, holding court as a chopper-wielding street soldier on the streets of Los Angeles, while still remaining true to his principles. “Gotta show my homies I'm on now,” he raps. “Both soles on the ground, never sold out.” A hook inspired by Lil’ Elt’s bounce rap classic “Get The Gat,” a breakdown inspired by The Showboys’ “Drag Rap,” and snippets of an interview from deceased New Orleans hip-hop legend Soulja Slim add to the song’s atmosphere.
“Shame On The Devil,” Dark Times’ first single, features a lovelorn Staples longing for “love and affection,” yet still disillusioned with “some hoes that'll pull up to give me some pussy before they come give me a hug.” He also utilizes his superior storytelling skills throughout the project. “Justin” is a perfect 20-bar short story, as he narrates a chance meeting between himself and a Qatari teacher. The two share a deep conversation and he begins to feel the genesis of a deeper emotional connection, until realizing that their whole interaction was built on a foundation of bullshit.
“’Radio’” is his dedication to the transformative power of the AM/FM dial and music in general. He explains going from listening to popular “urban” sounds of 92.3 The Beat to the “adult contemporary” 94.7 The Wave to the venerable 24-7 hip-hop station KDAY. He recounts spending his youth as a Nelly superfan, until hearing Blu & Exile’s Below The Heavens (2007) changed his life. He also engages in the time-honored tradition of pleading with a DJ to heal his broken heart. After messing things up with the object of his affection, he seeks solace in the music of Smokey Robinson, Roberta Flack and Brandy.
Staples leaves room for optimism on Dark Times. “Little Homies” serves as a motivational speech to young Black men growing up in similar situation as his own, encouraging them to pursue their financial independence, all while ignoring naysayers. “Freeman” serves as the flipside to songs like “Government Cheese” and “Children’s Song,” as Staples celebrates his own success and marvels at how far he has come after well over a decade of grinding. He details how he tries to stay grounded and humble, proud of how he connects with his fans through his music and during personal interactions, but still wary of how easy it would be to lose it all.
Dark Times is one of the better projects that I’ve heard this year. Staples shows his emotional depth without wallowing in pathos. Dealing with fame can be complicated, but the Long Beach emcee bares his troubled psyche and celebrates his accomplishments. It’s another great step for an increasingly special artist.
Notable Tracks: “Children’s Song” | “Etouffee” | “Justin” | “’Radio’”
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