Mixtape Preview: Pusha T's "Fear of God"

As a member of Clipse and The Re-Up Gang, Pusha T already has classic mixtapes and albums under his belt. But once he went solo and signed with Kanye West’s G.O.O.D. Music imprint, the lingering question was if he could bring the sophisticated street aesthetic that he’s championed as part of a larger unit to his solo sets. A few weeks ago, when Push set the Internet on fire after dropping his first solo song ever—the excellent Hit-Boy produced banger “My God”—those questions were put to bed. “My God” is the first single to Pusha’s upcoming mixtape, Fear of God, which will lead up to his solo album. Complex had the privilege of listening to Push’s mixtape and brings you an exclusive track-by-track breakdown. With a blend of original production and borrowed beats, and freestyles and full songs, topped off with plenty of shit talking, Pusha’s ready to make it on his own. EGHCK!

Written by Insanul Ahmed (@Incilin)

Produced by: N/A

Complex says: What better way to kick off a Pusha T mixtape than with a clip from Scarface? Rappers have been sampling the classic gangsta flick for years and Pusha starts this off with dialogue from the scene above.

Produced by: The Runners, DJ Nasty, & LVM

Complex says: The irony of Pusha flipping a beat originally used by a rapper he once claimed bit other people’s styles (including his own) aside, Push rapping over a track from Weezy’s Tha Carter II is actually reminiscent of his epic verse from the “Chevy Ridin’ High (Remix).” The only drawback is that it’s really just a freestyle and only one verse followed by a bunch of ad-libs (get used to that). Still, there’s some great Pusha taunts here including, “Yeah ma, I know your man got money but he’s not gonna spend it. He’s been poor far too long.”

Produced by: The Inkredibles

Complex says: No one has sold more kilos (on wax) than Rozay, so we’re gonna go ahead and say he’s the perfect fit for a track about how deep down inside, Pusha still wants to move keys. For anyone who can’t get enough of Ross’ grunts, this track won’t disappoint since Ross grunts about five times during his verse and once during Pusha’s verse. Meanwhile, Pusha rhymes about how, “I still wanna move kilos/That’s what happens when you Micheal and they treat you like you’re Tito.”

Produced by: The Bizness

Complex says: This currently untitled track is surprisingly smooth for a Pusha mixtape, at least compared to the kind of material we’ve heard on Re-Up Gang mixtapes. Push raps about how in a perfect world, it be just his guns and his girl. The highlight of the record is definitely the hook. It sounds kinda like Drake’s “Still Fly,” but Cossom croons about how he’s, “Spending money like a rich white girl” and how he’s “Feeling myself, PAUSE!” LOL. Okay, fine, the “PAUSE” movement may have jumped the shark with that one.

Produced by: I don't know who you are but I'm looking for you

Complex says: According to Pusha’s people, the production credit for this track will literally be, “I don’t know who you are but I’m looking for you.” Apparently, the beat was sent via email and Pusha just lost track of who sent it to him. But even if Pusha doesn’t recognize who made the beat, you’ll recognize his rhymes. He spit them previously while freestyling at Hot 97 with Kanye West. So just imagine the video above with a beat on it.

Produced by: Nottz

Complex says: This song has two verses and no hook. Ziplock P rhymes about how Wesley Snipes was G’ed by this accountants and how he’s here to “restore the feeling.” Pusha previously told us his ad-libs on songs were inspired by Puffy’s shit talking at the end of classic Bad Boy mixtapes, and there’s no shortage of shoutouts on this one. In fact, Push may or may not have deaded his beef with Wayne when he yells, "FREE WEEZY! Congrats my nigga. Now let Tip go!"

Produced by: Irv Gotti

Complex says: It’s only one verse long, but there are some classic coke raps on this one. Push talks about how, “The same shit that I hid under the mattress/Got me around the atlas.” Which we’re guessing is true since (according to Push) the song was recorded out in Abu Dhabi, just like his “Lost In The World (Remix)” which seemingly didn’t make the cut here.

Produced by: The Neptunes

Complex says: Given the unexpected guest spot from 50, in which he refers to himself as a “Hitman for hire,” we were hoping Fif would drop a catchy jingle on us, but Skateboard P handles hook duties instead, and raps about how he’ll make it rain with a gat. On the other hand, Push does have some inspired lines (he even shouts out Greenhouse) about how the song is “Tailor made drug dealer music.”

Produced by: Kanye West

Complex says: Remember Cam’ron’s “Touch It Or Not”? Well, this song basically has the same concept expect it’s much less vulgar. And instead of Cam’s hilarious pick-up lines, Push kicks off his verse begging for pussy saying, “Please, please, please” like James Brown. The beat is vintage Kanye, sounding like something that could have been a bonus cut on Common’s Be. After killing so many verses in 2010, we were really hoping ‘Ye would spit a few bars on this one, but instead he just does the hook.

Produced by: Boi-1da

Complex says: For anyone who felt like Boi-1da cooked up a dope beat with “Speakers Going Hammer,” but Soulja just didn’t have the rhymes to match, they’re in luck because Pusha is all over this one. He rhymes about how “It was all good just a key ago” and how “All you niggas is Lil Bs to the Based God.” (LOL!) There’s also more inspired shit talking on this one—similar to the end of Jay-Z’s “Imaginary Player”—where Push scolds a chick for not knowing the difference between a Range Rover and his G55 AMG.

Produced by: Nottz

Complex says: The closing track on here finds Push alone in Sin City. He raps about things he previously spoke to us about like the dichotomy of the Clipse and how he’s the only one left from his crew. You can tell Push is trying to recapture the feel of “Ultimate Flow,” the classic closer from We Got It 4 Cheap Vol. 2. Only problem is Malice isn’t around to help anchor the emotional guilt that always separated the Clipse’s music from everyone else’s. But there isn’t much Push can do, after all he’s all alone.