Track-By-Track Review: ‘Godfather’ Is A Fitting Reminder Of Wiley’s Communal Ethic And Legacy

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Wiley   The Godfather
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Wiley   The Godfather

More than twenty years ago, the fate of UK garage was yet to be foreseen.

The waning interest and increased police disruption meant that something had to be changed, remoulded perhaps. Then came Wiley, with a culture-defining mission that really isn't difficult to understand when you hear his eleventh studio album, Godfather. The dynamism it took to see the potential in a scene still unchartered is the reason why Wiley's latest sounds as though it could've been made in 2001 as well as 2017.

Eskibeat is a grime institution in itself, but where Wiley perhaps doesn't receive enough plaudits is for his signature sound that never once felt stale (a behemoth such as Jay Z struggles to find his place in a world where Reasonable Doubt is a relic). The jury's still out on whether Godfather is Wiley's magnum opus, but it's proof that in this game, idiosyncrasy comes through remaining true to one's sound—even if he did plan to cancel the album. Wiley's elusiveness has often had fans wondering what the man does with his time, but the artwork for the album tells all: like a scientist bringing his creations to life, he's in his own lab perfecting the beast he helped create all those years ago.

The star MC proclaims that he doesn't think he's had a masterpiece album yet. Maybe. And that's fine. But every album he's released has marked a development, a growth, for grime. Wiley is the overseer, facilitator and doer, never relenting to anyone, and the tone of Godfather suggests so. Now aged 37, Cowie isn't a man attempting to recreate a moment once lived but instead, this LP exemplifies refinement and precision. After numerous delays and false starts—twenty years since he first appeared on pirate radio—the elusive wordsmith has come to finally, and rightfully, accept the role he's been given in inspiring the lives of a generation looking for a place to shake a leg and dance.

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“Birds N Bars”

Godfather opens with an aim of setting the tone—vintage Eski with a contemporary makeover. Without relenting, Wiley lets off a stream of bars filled with quips and one-liners that he's long been known for. You're plain and I'm the loaded nachos, I played the game for long on my cash flows, he confidently boasts. The second half switches up the pace to a more bouncy vibe but still dictating the rhythm and tempo of the album. As far as album intros go, "Birds N Bars" goes as far as setting up potentially one of the best grime albums of the year, even this early on.

“Bring Them All” / “Holy Grime” f/ Devlin

It's been a few years since Devlin's Moving Picture and with the forthcoming album, The Devil In, "Holy Grime" is a reminder of the Dagenham rapper's raw ability. Throughout Godfather, you'll hear a host of grime's pantheon of artists and it's clear by now that everything Eski Boy does is with purpose. In a recent interview with The FADER, Wiley acknowledged the recent debate that's been enthralling grime fans: its origins. His declaration isn't only vindication, but with Devlin's appearance, it shows that while the intersection of race exists in grime, other working class groups have also made lasting contributions.

“Name Brand” f/ Jme, Frisco & J2K

Produced by Jme and featuring Frisco and J2K, "Name Brand" sees Wiley lament on his own influence he's been able to garner over twenty or so years. Since grime's resurgence has been the narrative for some time now, one of the more striking observations has been London's overall climate and atmosphere. Wiley, who has been a stalwart of London's nightlife, confidently inserts that London's changed a bit, but I can still hit the booth. Indeed. 

“Speakerbox”

Intoxicating and stimulating would be most apt when describing the effect "Speakerbox" had upon the first listen. This was one of the later singles to be released prior to the album's drop and is one of its earliest examples of Wiley's coherent flow and slapstick bars. What's particularly endearing is the memoir left by Skepta at the end of the track, hoping that younger generations will never have to experience what his generation of grime artists had to. Gems on gems.

“Back With A Banger”

One of the album's strongest traits is the seemingly immaculate sequencing. Each track appears to have its place and it's a definite tell that, sometimes, providing a stellar project throughout may mean fans have to wait. This early on since Godfather's release, it'd be almost foolhardy to select the album's best track but it's difficult to ignore the infectiousness of "Back With A Banger".

“Joe Bloggs” f/ Newham Generals & President T

Wiley's a veteran and permanent fixture within grime but no doubt, there are a few out there who still question his ability to make music in 2017, especially with the numerous delays. Reflecting on the old days is a running theme throughout, much like on Kano's Made In The Manor, but it's the features of D Double E, Footsie and President T that really adds to the nostalgia "Joe Bloggs" creates.

“Pattern Up Properly” f/ Flowdan & Jamakabi

Recruiting Flowdan and Jamakabi for "Pattern Up Properly" was a shrewd decision that, in turn, paid off. When I'm on the riddim, ain't nobody badder than this / I'm honey, lemon and overproof rum, you're just a likkle Lemsip, Jamakabi states, on one of the more memorable feature verses. The combination of the three MCs towards the midway point was an effective way of increasing the tempo, adding fuel for the listener.

“Can’t Go Wrong”

Released last September and serving as the lead track, "Can't Go Wrong" is lordly in its presence and tone. Despite the album being delayed, the track highlighted the lovable cheekiness of Wiley to tease fans while proclaiming he can do no wrong. The timing of the song's release couldn't have been more poignant. BBK got a lot going on / Skepta, that's my brudda, that's my don, spits Wiley, the same day Skepta won the 2016 Mercury Prize for Konnichiwa.

“Bang” f/ Ghetts

Wiley and Ghetts have had a storied history over the years. There was the infamous back-and-forth in 2006 which saw Wiley go up against The Movement and resulted in the Roll Deep veteran's "Nightbus" dubplate. It's 2017, and while clashes and dubplates are all a part of the scene, the two artists have clearly left the tension in the past. I'm not a lager lout, still throwing bars about, sees Wiley deliver one of his staple timely and witty one-line quips. That's not before Ghetts sets the pace and tempo with his opening verse. Coming in at the halfway point of the album, the sequencing of the track couldn't be more striking, as albums often lag toward the mid point.

“U Were Always Pt. 2” f/ Skepta & Belly

Roll Deep fans will appreciate the inclusion of this one. Part 2 also uses the SWV sample from their 1996 hit, "Fine Time", in a similar way to its use on "U Were Always". The track's inclusion is significant in its own right, in the sense that at least more than one iconic moment from Wiley's career is acknowledged on the album.

“On This” f/ Chip, Ice Kid & Little Dee

What do grime's elders have to offer? As the world makes room for the Stormzys, Big Zuus and the AJ Traceys, grime now exists as a What of the pioneers? The collaboration between Wiley, Ice Kid, Chip and Little Dee, and the repetition of Man's been on this, are a forceful reminder that, on the odd occasion, seniority carries weight—and then some.

“Bait Face” f/ Scratchy

It's been a fair while since we've heard Scratchy on a track with Wiley, but hearing the Roll Deep generals was evocative of the OG grime crew's peak. It also wouldn't be presumptuous to assume that when fans saw the tracklist, they were hoping Scratchy and Wiley would create a sense of nostalgia, and they did. Not being one to tempt fate or instigate, there wouldn't be a better moment for a Roll Deep project.

“My Direction”

When I go to war, I dun them, could be this crew or that crew, I dun them, Wiley declares, and make no mistake: he isn't exaggerating. Wiley's had his fair share of moments when he's had to assert, and often reassert, his legacy in grime. Many of those moments have come in the form of clashes and beefs, and it's another reminder of Wiley's resolve that has led him to this point in his career.

“Like It Or Not” f/ Breeze

It seems as though we can never get away from a mention of the so-called "resurgence" of grime. However it would be ahistoric to acknowledge the narrative due to the genre and extended culture's visibility. With that brings outsiders and critics, and one of the more surprising claims is Wiley's influence. Like it or not, I was at the start / You was saying "stop dat", we was in the dance, Wiley states with conviction. In the resurgence conversation, Dizzee's Boy In Da Corner is nearly always referenced, but Wiley was instrumental in its creation. Perhaps "Like It Or Not" isn't a response, but rather braggadocious panache? Either way, it's true.

“Lucid” 

By this point and at track 15, attention starts to lag a bit. But the sole Zeph Ellis production on Godfather is a welcome change from the Eski sound that permeates through the LP. With lyrics such as I'ma drop my album on fans, exclusive / Do it for my people, they say I'm lucid, it sounds as though "Lucid" was one of the latter tracks to be completed but it also reveals the level of quality control Wiley employed on his potential final album.

“Laptop” f/ Manga

Not every track needs to have a meaning and I suppose after a long creative process, you can be forgiven for not putting much thought into the concept of a track. As the name suggests, "Laptop" is an ode to the trusted, and I'm presuming, MacBook that Wiley uses. Then again, maybe it does have some meaning. If my laptop broke before finishing this review, I'd be ended (figuratively speaking).

“P Money (Remix)” f/ P Money

The only thing close to the feeling of being acknowledged by a pioneer, not to mention him recording two songs in your name, must be when Kobe Bryant first squared off against Michael Jordan back in 1996. Adding the remix of his 2016 release, "P Money" was not only a sign of mutual respect, it merely reinforced the work Wiley has done for others throughout his career. When it's all said and done, and the debates over whom the title of 'godfather' belongs to, not one soul can dispute Wiley's community ethic. He's the reason why grime's even here.

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