Blue Lips by ScHoolboy Q: Review
A messy album that is beautiful in its imperfection.
Intro
Even though the album is called Blue Lips—an expression for being speechless—ScHoolboy Q manages to drag his new LP along for 56 minutes and 18 songs. I would be lying if I said this album was without flaw; if I said it was perfectly organized or had one set mood. Certainly, none of these things are true—but they don’t take away from the intrigue of the record.
As an expression of Q’s mental state, Blue Lips is astoundingly appropriate. Whether intentional or not, this project is immensely reflective of Kendrick’s Mr. Morale, both pondering the question of an artist’s personal life and upbringing in the face of unparalleled fame. The conflicted mood doesn’t stop there—the style of this LP is an amalgamation of gangsta and jazz rap that juxtaposes furious, rage-filled rants like on “Pop” with Rico Nasty against soulful and introspective lyrical tunes like “Blueslides.”
The project is extremely raw and leaves Q’s emotions directly exposed to the listener. You feel the hurt he does, you match his rage and passion, and you imagine the scene as he describes his childhood. Even some musical hits and misses, especially on the production and style side, aren’t enough to bring down Q’s creative peak.
Recap and Thoughts
I will get my negativity out of the way first so we can enjoy the brilliance of this project later. A lot of the production and creative choices on this record are inexplicably odd. I have no idea how to interpret the intro, songs like “Blueslides” are lyrically amazing but feel like several instruments are missing from their production, and some of the album’s best tracks (“Germany ‘86) and (“Smile”) are also its shortest.
The second issue I have with this project is more of a personal preference. I enjoy it when artists stay consistent with one style through a whole album that ties it together (the jazz rap of To Pimp a Butterfly or Kanye’s foray into industrial rap in Yeezus). I think attempted tone switches in the middle of an album can often be very jarring unless executed properly (Frank Ocean’s Blonde is the best example of when this is done well). But in this project, the tone and mood switch back and forth from song to song, making this album seem more like a mixtape or pure collection of tracks. I’ll split the rest of this review in half by the project’s two contrasting styles.
Let’s begin with the gangsta rap half of it all. The biggest aggressive highlight on this record is undoubtedly “THank god 4 me,” the album’s second most popular track. Interestingly enough, this song begins with a segment of slower, more melodic production before a quick beat switch darts it into hardcore territory. The second verse is harsh, quick, and boastful, with one of the album’s best flows (which says a lot, since many songs on the rest of the album are only flow).
N***a, go to Hell, you went fed' (Ayy)
The white bitch do what I said (Ayy)
You rap n****s stay on your period (Okay, okay, suu)
The truth been coming out fierce (Ayy)
My neck piece looking like Paris
The Maybach, me and her married
I look down, n***a, that's scary (Ayy)
The rat tails need to get buried
You hanging on to it, now, barely
Move on, n***a, that's clarity
Following close behind is the album’s short lead single, Yeern 101. Following the pattern of the highlight songs being far too short, this 2-minute track is classic rap flexing over one of the best beats and flows of the year. The production is pounding and fast-paced, complimenting the high-class lifestyle Q advertises in its lyrics. It opens and closes with two rhyming octets that are a masterclass in writing verses:
Like damn, Wop, how I get a bitch like yeern?
I'm a drop-top n***a 'cause the sun won't burn
Wanna live like Wop, but the stripes ain't earned
I'ma get it right now, I ain't waitin' no turn
Got a brand new house, tryna avoid my hurt
'Bout six point somethin' and it feel like church
Heard the hood got whack and the set went turn
Got a 488 and it glide like Kurt
Keep playin' with the fire, bet his ass get burned
Heard your boy got spent when the light got turned
Got his head all cracked, man, the boy won't learn
Big racked up shawty way the block gets served
N****s always sorry when the cap don't work
Got the butterfly doors and it fly like bird
Bet I love my bitch, but I ain't them nerds
Like damn, Wop, how I get a bitch like yeern?
Though I’m still yet to figure out what the title “Pig feet” is supposed to mean, the dark production and tone on the track are incredibly interesting and pair well with a catchy hook. The refrain is a bit repetitive, but not enough to be annoying—I’m just really not sure there’s a case for the Childish Major feature, there’s not much he adds to the track here.
Ayy, ay
Left, uh, left, uh, left, ay, left, ay, left, ay, left, ay, left
Ain't no right, ay
Left, ay, left, ay, left, ay, left, ay, left, ay, left, ay, left, ay, left (Suu)
It's on sight, uh
The slower side of the album is where it makes its lyrical impact. As stated earlier, I’m not too much of a fan on the production and sound side. “Foux,” for example, brings in TDE compatriot Ab-Soul for a great feature verse about the dark side of fame, a common theme on the album.
Repent for my sins, then I turn around
By next weekend, do it again
Wash, rinse, repeat, cycle won't end
But the chorus’s second half is just so weird and annoyingly redundant.
Yeah, yeah-yeah, yeah-yeah, yeah
Yeah, yeah-yeah, yeah-yeah, yeah
Yeah, yeah-yeah, yeah-yeah, yeah
Yeah, yeah-yeah, yeah-yeah, yeah
Marijuana, hydro, pussy hoe, ass, titties
Marijuana, hydro, pussy hoe, ass, titties
Marijuana- uh, pussy hoe, ass, titties
Marijuana, hydro, pussy hoe, ass, titties
Marijuana, hydro, pussy hoe, ass, titties
Marijuana, hydro, pussy hoe, ass, titties
It unfortunately kind of ruins the track for me. Also,
Righteous malfeasance (Soulo hoe)
Fightin' my demons (Soulo hoe)
“Blueslides” is the other obvious lyrical highlight, a somber tribute to the late Mac Miller. This is a drumless beat that feels out of place on an album that also includes gangsta rap, but it isn’t inappropriate enough to hold back the beauty of this track’s writing.
How you made it up out of Figg'? It's like he musta knew magic
Lost a homeboy to the drugs, man, I ain't tryna go backwards
When I realize that his **** hurt and think, "Was it worth it?"
Man I gotta shake this shit, wake up and move with a purpose
Been a prisoner in my own house, I don't know if they noticed
I done broke down so many times, next time, it gon' catch me
I done helped out so many people, they took me for granted
I done lost out on so much shit tryna live to your standards
Finally, “Lost Times” is very much worth a shoutout. The contrast between Q’s aggressive delivery and the melodic instrumental is an interesting creative decision that pays off. I enjoy Jozzy’s sentimental chorus delivery—it’s the album’s best feature.
I'ma put my fingers in the air for the lost times
Twist one and I put it in the air for the lost times (Yeah)
I'ma throw this money everywhere for the lost times (Su, su, su, su, su)
I'ma get to bustin' in the air for the lost times (Pop, pop, pop)
This song, unlike others, actually makes a case for its shorter length and abrupt end, as it truly represents lost time. ScHoolboy Q has said this is his favorite track on the record—it’s not hard to see why.
Summary
I disagree with a lot of the creative choices made on this album. I’m obviously not an expert and don’t have much of a place to comment, but it’s purely a matter of personal preference that minimizes the replayability of some tracks.
But there’s only so much I can pick on this album for. It’s a lyrical masterpiece with intriguing production that few artists can match. The way it can pair songs of two different moods one after the other while still maintaining at least baseline cohesion is very impressive. His flow remains outstanding, he’s able to tie together so many consecutive bars, and the melodic vocals used in many of the project’s highlights are the cherry on top. It’s obvious why even after hits like Oxymoron, Q maintains that this is his favorite LP.
Song-by-Song Breakdown
Funny Guy: 5/10
Pop: 8/10
THank god 4 me: 9/10
Blueslides: 9/10
Yeern 101: 8/10
Love Birds: 7/10
Movie: 8/10
Cooties: 9/10
oHio: 6/10
Foux: 7/10
First: 8/10
Nunu: 7/10
Back n Love: 7/10
Lost Times: 10/10
Germany ‘86: 8/10
Time killers: 8/10
Pig feet: 9/10
Smile: 7/10
OVERALL: 7.8/10
Best:
Lost Times
THank god 4 me
Blueslides
Worst: Funny Guy
Best Lyricism: Blueslides
Best Production: Lost Times
Best Performance: Yeern 101
Best Feature: Jeezy, Lost Times
Most Overrated: oHio
Most Underrated: Pig feet