I had little reason to expect quality from the first solo project by rapper Offset who is one third of the popular rap group, Migos.<\/p>\n\n\n\n
Known for songs like \u201cWishy Washy,\u201d \u201cVersace\u201d and their smash hit \u201cBad and Boujee,\u201d Migos brand of flows, sound and Atlanta influence has played a large part of shaping rap music into what it is today. <\/p>\n\n\n\n
That same influence and creativity has not shown through any of the other members solo projects. Quavo\u2019s recent album \u201cQuavo Huncho\u201d was defined by a lack of ideas that would leave some songs feeling unfinished. Takeoff\u2019s \u201cThe Last Rocket\u201d had complete songs, but those complete songs proved redundant. The album lacked any semblance of variety.<\/p>\n\n\n\n
I assumed Offset\u2019s album \u201cFather of 4\u201d to meet a similar fate and the hilariously awful photoshop job that is the album cover didn\u2019t lend itself to any good faith.<\/p>\n\n\n\n
To my surprise, the album starts off strong with the title track as the opener. With an admirable opener from Big Rube and an emotional performance about Offset\u2019s children, this track is one of the best that any of the Migos members has ever made. <\/p>\n\n\n\n
Combined with the appreciative claim to fame on \u201cHow Did I Get Here\u201d with J. Cole and the soothing pan flute of \u201cLick,\u201d this album was prepping up to be on a whole other level in comparison to the rest of the Migos\u2019 efforts. <\/p>\n\n\n\n
This would prove to not last as a particularly fantastic feature spot from Cee Lo Green becomes the only thing truly worth discussing for the rest of the 40 minutes of runtime on this album. <\/p>\n\n\n\n
Offset, along with his fellow Migos\u2019 members, prove on tracks like \u201cUnderrated\u201d or \u201cDon\u2019t Lose Me\u201d that they struggle to hold entire songs on their own. The other features also do not fare well. Both Travis Scott and 21 Savage, despite releasing their best albums and work to date with \u201cASTROWORLD\u201d and \u201cI am > I Was\u201d respectively, phone-in their efforts here. <\/p>\n\n\n\n
Cardi B makes an appearance on the song \u201cClout\u201d with a verse centered entirely on the media\u2019s portrayal of her which was likely motivated by the criticism thrown at her for taking Offset back after cheating scandals. The verse ends up reading far more insecure than strong and\ncontinues to show that Cardi could be on the decline quality wise from her\nexcellent debut album. <\/p>\n\n\n\n
An\nintrospective track like \u201cRed Room\u201d shows one last glimpse of quality before\n\u201cFather of 4\u201d peters out and ends on an unsatisfying note. <\/p>\n\n\n\n
Without\nkeeping up the momentum of its good start, the album divulges into the worst\ntropes and usual topics that the group has long run into the ground. Even if\none does not care about lyrical content, the beats and instrumentals aren\u2019t\nnearly strong enough to make the quality bangers that we expect from a Migos\ntrack. <\/p>\n\n\n\n
I do not\nbelieve that \u201cFather of 4\u201d does anything to warrant a listen, let alone a\nrecommendation. Other than a few good tracks in the beginning, all it has\naccomplished is that it officially confirms none of the three Migos are worth\ninvesting in as solo artists. <\/p>\n\n\n\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
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