nikkas was saying Summer Walker took her spotTerribly! Folks was saying Ella Mai is better
nikkas was saying Summer Walker took her spotTerribly! Folks was saying Ella Mai is better
Friday.
She’s too good. I love how personal and introspective her music is.She's really gonna run much of next year too. Grammys, deluxe increasing sales, videos, features...it's gonna be wild. Probably gonna be the a superstar run we haven't seen in awhile from a black female artist not named Beyonce/Rihanna.
She’s too good. I love how personal and introspective her music is.
I agree.I was mixed on the album and still am. The good tracks are really good though. And I'll admit they (TDE) played this perfect. I figured she'd have a successful album despite the delays since she has such a knack for writing hits but I couldn't have imagined it would be THIS successful. Like, this album is on some classic, transformative level shyt in terms of the success. And she's doing all the other stuff that makes you a superstar. She got through the tour, she went overseas, came back and did some intimate shows, is doing all the behind the scenes shyt that you need to do for award nominations, and she might win a loooot of Grammys soon.
I also like that she's doing things you don't see most young-ish artists do anymore. Babyface and a host of other great writers helped her with the album. This is the type of shyt I've always been blown away that Drake doesn't do. He sticks in his lane with his producers, and only branches out to pick up whoever the hot producer of the moment is. And I think it's a major reason why he's been at such a stagnant level, growth wise. What does Drake sound like with Babyface in the studio to vibe and trade melodies with. Or James Fauntleroy. SZA has worked with both.
I'd imagine the next step of this process is gonna be more concentrated album crafting. SOS is pretty bloated and aimless IMO. I'd be curious how she'd work in a process where the goal is to make 12 tracks, all of which serve a purpose, create a mood/vibe, and are undeniable (hits or otherwise).
You got a point, it worked out but doesn't mean she should have took that long to drop.And just to put this into perspective, The Booth was talking about how crazy Taylor Swift's numbers were and wrote SZA off as finished. Well, Taylor dropped Modnights in October 2022 and has since gone 2X platinum. SZA dropped SOS in December 2022 and has sknce gone 3X platinum.
You got a point, it worked out but doesn't mean she should have took that long to drop.
I mean look at it this way, she could have dropped 2 or 3 albums by now and had even more success if she dropped sooner. She is over 30 rn, 34 to be exact and was 28 when she dropped her debut. Her prime years are going to pass her by if she doesn't get more consistent but it is what it is. Some artist rarley put out work like D'angelo but if it was TDE holding he back that sucks.
I hear you but even you have to admit, it was risky to wait that long and most people don't deliver after a hiatus like that. I say why take all that risk and leave extra money on the table and as far as her aging it may or may not affect her, time will tell. Though I don't think it's wise as a label to stall during your artists prime creative years.Dunno about that. I feel like some artists get to a point where their age doesn't really matter until they actually look or sound old. Nobody knows or cares that Beyonce is 42. She's Beyonce. Nobody cares about Rihanna's age. And I think SZA is clearly in that ballpark when it comes to superstars. On the rap end does anyone really care about Drake, Cole, or Kendrick's age in the grand scheme of things? Each one continues to be current or "cool" in a way that say...50 Cent isn't, in 2023. Drake/Cole/Kendrick can still exist within this era, they don't sound "old" and they aren't out here stumbling around on some "hello fellow kids" vibes. Same with Future. Does anyone ever think about his age?
So I don't think there was any need for an album between CTRL (2017) and SOS (2022). If anything, the anticipation for a follow up is partially why this album was so successful. And she delivered after a long hiatus, which is rare. Remember when Solange's album came out and the hoes were mad that she didn't give them the hoe anthems they expected/wanted?
I hear you but even you have to admit, it was risky to wait that long and most people don't deliver after a hiatus like that. I say why take all that risk and leave extra money on the table and as far as her aging it may or may not affect her, time will tell. Though I don't think it's wise as a label to stall during your artists prime creative years.
It would be one thing if SZA was the only artist on TDE waiting years between albums but they do that with every act except Reason. It worked for SZA but look at Ab-Soul's career by comparison as well as Jay Rock.
All great points, I've always said SZA is a dope artist, sexy and her and her camp writes great songs. In fact many of these female rnb singers bite from her imo. Still feel it is a risky strategy imo though because while it worked for Sza that was the exception and not the rule.If I was the label and sitting on these tracks, many of which were obviously gonna be hits? I would have been fine with waiting lol. Like I said I'm not big on the album but it was immediately obvious this would be a massive album based off one listen. Multiple undeniable hit records. And I'd imagine they were even more confident having listened to the albums her contemporaries released beforehand. Summer Walker's album was successful, it sounded ok from what my girl played but...it ain't this. On any level. So not only did they know they had a hit in the chamber, they knew it couldn't possibly be rendered old or outdated. Summer Walker and everyone else basically stuck to the same downtempo trends. Meanwhile SZA had straight up pop jams on her album alongside some rapping and acoustic guitars.
Crazy how so many people on here wrote SZA off because of the gap between albums. Arm chair Coli A&R's struck again and yet again were wrong.