By Zach Gase
Since breaking onto the scene under the G.O.O.D. Music umbrella back in 2009-2010, Big Sean has been an enigma to me. Initially, I thought he was incredibly corny and a byproduct of Drake’s newfound success. He then released some very impressive verses on various G.O.O.D. Friday tracks that Kanye released in late 2010 (most notably Don’t Come Down and Looking For Trouble). Once I was ready to give the Detroit spitter my approval, he released his underwhelming debut Finally Famous: The Album. While there were several tracks that showcased his ability, Finally Famous did not give me the inkling that Big Sean was anything more than a semi-talented, run-of-the mill mainstream rapper. But along with his scene-stealing performances on the disappointing Cruel Summer album and a stellar mixtape, Big Sean’s sophomore effort, Hall of Fame puts him among Hip-Hop’s best pop acts.
The most notable improvement Sean made on Hall of Fame is his newfound balance between club tracks and songs with more substance to them. Whereas Finally Famous had a disproportionate number of club-friendly cuts, many of Hall of Fame’s more weighty songs deal with a sense of accomplishment. The opener No One Can Stop You details the story of Sean first rapping for Kanye and on the second verse about how young kids will rap for him. On First Chain (which would be one of the best songs of the summer had it ended at 3:55, before Kid Cudi spews garbage all over the track) Sean reflects on his successes alongside Nas.
The club tracks are still present on Hall of Fame, but this time they are framed with more substance. Fire is an absolute banger but offers more than typical braggadocio, and the Lil Wayne-assisted lead single Beware chronicles an ill-fated relationship. Sean also touches on the subject matter on the album’s penultimate track Ashley, which shows the rapper at his most vulnerable, as he raps: “Sorry when you put your faith in me I was unfaithful, disgraceful, distasteful.”
Big Sean also gets a boost from some magnificent production throughout the album. No ID once again has his hand in the bulk of the disc, and Key Wane, who helped make Detroit such an excellent mixtape, also provides some of the album’s best beats. Da Internz are able to re-create the Dance (A$$) magic on some of the album’s more club friendly tracks MILF and Mona Lisa. No ID brings in James Poyser for Sierra Leone, one of the smoothest beats you’ll hear all year.
Big Sean will continue to have detractors, and understandably so. His high-pitched voice can be very off-putting at times, and while he can be very innovative with his flows and rhyme schemes, sometimes they come off forced. Hip-Hop purists would probably never enjoy a Big Sean record, but he is one of the better rappers that mainstream Hip-Hop has to offer. I don’t expect Hall of Fame to convert all of Sean’s naysayers into fans, but I think this album will sway some of the fence sitters.
3.75 Out of 5
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