Pusha T drops the the coupes on It’s Almost Dry

Drop the tops off the coupes.

Pusha T is back. 

With his fifth studio album, It’s Almost Dry, the rapper-born Terrence Thornton has once again put himself atop the rap game conversation.

It’s Almost Dry puts Pusha on the map after almost four years of inactivity. The rapper’s last project, Daytona, charted high and eventually landed as a multi-platinum record, continuing his legacy as a top MC in the game. 

On It’s Almost Dry, Pusha carries on his responsibilities as normal, but this time with both Kanye West and Pharrell as collaborators. The two megastar rapper-producers each produced half of the album, with Pusha and other features (including Kanye) covering the vocals. 

“Brambleton” opens the album with a phenomenal beat by Pharrell Williams. The instrumental is mysterious, catchy and sets the bar for the album’s production extremely high. Pusha’s bars are well done, but nothing special for what he has done or even what he accomplishes later in the project. Overall, “Brambleton” is carried by the production, but the beat is so good it turns it into an extremely well-done track with ample replay value.  

“Let the Smokers Shine the Coupes” follows up Brambleton with an aggressive Kanye West beat that Pusha solos over. In short: it is hard. The track continues the Daytona, “Brambleton” theme of classic Pusha. A small note from the Kanye beat that should be recognized is the reappearance of the laugh track which first showed up on Kanye’s 3rd-most album ye.

Now finally, we get some Kanye vocals. In “Dreamin of the Past”, the superstar sings his heart out on the chorus of the track.

It is horrible.

I am a hardline Kanye stan, I am a defender against most “mid” beats and tracks the superstar has made.

This is genuinely bad.

Kanye’s voice is whiny and annoying on this track, his chorus and verse are both quite unnecessary. However, he redeemed himself with the masterful production he has repeatedly shown on the album.

Following “Dreamin of the Past” is the widely liked single “Neck and Wrist” which features JAY-Z and Pharrell. The three rappers back up their high prestige and reputations, delivering a solid track with great production from Pharrell himself. 

After some mediocre tracks which include another single, “Diet Coke,” Pusha released what should have been the crown jewel of the album. The New York rapper got Kanye and former frequent collaborator Kid Cudi on the same track, something some thought was an unachievable feat. 

Unfortunately, the song is bad, again.

Kanye simply missed with his verses on this project. The ironic part is he has no one to blame but himself because he is the one who mixed and produced his own vocals.

Cudi’s verse was okay, just okay.

Two more memorable tracks fill out the album’s 12-song frame.

“Scrape it Off” features two new(er) age rappers Don Toliver and Lil Uzi Vert, who has never even been rumored to work with Pusha. Unfortunately, it sounds about as good as most thought. 

The track is a bit awkward, yet the three’s talents all definitely showed. The best way to describe it is by eating cereal and milk with a side of steak.

I will let you interpret who the individual food items are. 

Finally, rounding out the album is the Labrinith featuring “I Pray for You”.

The artist is known mostly for his work on Euphoria’s soundtrack that really delivered a beautiful opening. The problem is more with how Malice, the other rapper featured on the track, and Pusha blended in. 

They simply do not fit. 

Unfortunately, that is the theme with this album, a lot of talent, not a lot of blending. 

Overall, it is a decent project, but it does not touch Daytona.

At least Drake is a good father now.

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