Album Preview: J. Cole "Cole World: The Sideline Story"

Read our initial reaction to the Roc Nation signee's debut album.

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Image via Complex Original
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Intro

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Track 1

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“Track 1”

Producer: Universal

Co-producer: J. Cole

Complex says: The album opens with a dreamy soundscape that we can’t help but compare to Jay-Z’s “Intro” from The Dynasty. The desperation in Cole’s rhymes make him sound like he’s down to his last dime, but despite the circumstances he still comes off as a nice guy with a mean flow. The beat switches up slightly from verse to verse which is why Cole gets a co-producer credit.

Track 2

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“Track 2”

Producer: Danjahandz

Co-producer: J. Cole

Complex says: The plot of this track is comparable to Nas’ “Black Girl Lost.” The city is filled with good girls gone bad and Cole tells their story as he urges the ladies not to give it up easily. After the final verse, there’s a guitar breakdown that’s similar to the guitar solo in the middle of Kanye’s “Devil In A New Dress.”

Track 3

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“Workout”

Producer: J. Cole

Complex says: The lead single to the album might end up as a bonus cut. Although the track didn’t become a big hit, it’s still a strong effort that should have gotten more burn than it did.

Track 4

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“Track 4”

Producer: J. Cole

Complex says: This track is a good representation of Cole's appeal. The beat will make your speakers rattle. You’ll be glad you spent the extra bucks on top-of-the-line headphones. The sing-songy hook is trademark Cole. The verses are all business. Cole spits his heart out on this one.

Track 5

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“Lights Please”

Producer: J. Cole

Complex says: You’ve heard if before, now hear it again. At the session, Cole explained this song was the track that won over his manager (Mark Pitt) and Jay-Z. It’s an excellent track, but putting an old song on a new album? This would make more sense as a bonus cut.

Track 6

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“Track 6”

Producer: J. Cole

Complex says: This opens with a sample from the documentary, Backstage where Jay-Z is talking about finding that one great artist that he’ll sign. Obviously, that clip has special significance to Cole. The triumphant horns lead to Cole going in with bars and bars before breaking for a chorus that uses “Now Lay Me Down To Sleep.”

Track 7

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“Track 7”

Producer: J. Cole

Complex says: Like an overheating car, sometimes we all break down. On the first verse, Cole tells a heartbreaking tale of wanting a father but not having one around. The second verse deals with his mom and the final one is about an unnamed woman. The beat has a whimsical feel and he sounds calm but, on the hook, he admits that sometimes he wants to break down and cry.

Track 8

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“Track 8 (Skit)”

Producer: N/A

Complex says: This is just a quick skit where Cole talks about the day he found out Jay-Z wanted to sign him. As soon as Cole got the good news he was pulled over and ended up spending the night in jail for parking violations. Talk about bad luck. Even so, he explains that it was “the easiest time ever” because he knew success was coming around the corner.

Track 9

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“Track 9”

Producer: J. Cole

Complex says: Remember that country-rock song “Centerfield” by John Fogerty? This is the rap version of that. Cole tells us that being on the sidelines is a metaphor for his situation on Roc Nation. He sees himself as a player on the bench waiting for the coach (in this case, Jay) to put him in the game.

Similar to Big Sean, Cole got signed by a major rap figure and everyone assumed his life was all good. In reality, he had to work to get his album out. On the song, Cole rhymes about being annoyed with questions about Jay-Z and he wishes someone could show him the guidelines to getting off the sidelines.

Track 10

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“Track 10”

Producer: J. Cole

Complex says: This track is a continuation of the concept behind the Friday Night Lights cut “It Cost Me A Lot.” It shouldn’t be considered a true sequel because the song is over a dubstep beat that doesn’t fit with the rest of the album. Cole mixes material wishes of big chains with the knowledge of what jewelry means to people. However, the dope rhymes are undercut by the unwelcome departure from the rest of the album’s sound.

Track 11

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“In The Morning” f/ Drake

Producer: J. Cole

Complex says: Here’s another song that’s been out for years but made the album. For Cole, this song never got the push it deserved but he figured he’d give it some shine. One important thing about this record is that it’s the only rap feature on the album (Cole is still waiting on his Jay verse which he may not get in time).

Track 12

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“Track 12”

Producer: J. Cole

Complex says: There’s a very special guest on this track that we can’t reveal (Cole urged us not to) but it’s definitely not someone you’d expect and they are surely welcome. The song title reveals the subject matter: relationships.

Track 13

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“Track 13”

Producer: J. Cole

Complex says: Cole has been holding on to this one for years but he’s finally ready to let it go. It’s an emotionally heavy track that deals with with unexpected pregnancy and abortion. On the first verse, Cole rhymes as a guy arguing with his lady. The second verse is from her perspective. The final verse is from a third-person point of view. For the second time on the album, Cole breaks down and cries which is another reminder that this era of rappers have been through way more breakups than shootouts.

Track 14

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“Can’t Get Enough” f/ Trey Songz

Producer: J. Cole

Complex says: If you thought “Workout” underperformed as a commercial single, don’t worry. This song is so radio-ready, Roc Nation just needs to drop it already. With it’s big hook and boisterous beat, expect to hear it on radio soon.

Track 15

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“Track 15”

Producer: No I.D.

Complex says: This is another relationship anthem but this one gets lost in the batch. By now, you’ve settled into the album’s groove. Cole still spits dexterous flows but it’s hard to distinguish this song from some of the others.

Track 16

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“Track 16”

Producer: J. Cole

Complex says: This is the track that Cole made for Jay-Z. The song is still incomplete and missing a third verse. Cole’s verses have references to Jay’s albums and songs so it’s no wonder he thought it’d work for him. Cole thinks he finally made a song worthy of Jay, we can’t help but agree. Hate to break it to ya Jay, the ball is in your court now.

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