DJ Khaled, Father of Asahd | Album Review

DJ Khaled, the master curator of big-name collaborations, returns after a two-year hiatus with his latest star-studded album, Father of Asahd.

“We the Best Music / DJ Khaled!” Ah, “you know what time it is” – time for a new album by the one and only DJ Khaled.  After taking a break in 2018 following Grateful (2017), the famous producer and curator of big-name collabs drops Father of Asahd in 2019.  Thankfully, Khaled didn’t find it necessary to give listeners 90 minutes of music this round – we sit at 55 miniutes.  But, Father of Asahd is still more of a compilation of records as opposed to a polished, cohesive album.

“Holy Mountain”

✔ “Holy Mountain” commences Father of Asahd with a bang, period.  There’s lots to like or at a minimum, appreciate about the opener.  First and foremost, the production is epic, co-produced by Major Seven.  Secondly, the Jamaican, reggae influence is ‘novel,’ but ultimately, endearing.  The featured artists on “Holy Mountain” are Buju Banton (particularly notable given his legal troubles), Sizzla, Mavado, and rising star, 070 Shake.  070 Shake sounds particularly strong on the chorus, while the sample of “One Spliff a Day” (Billy Boyo) is like the ‘cherry on top.’

DJ Khaled follows up the rousing opener with another banger, ✔ “Wish Wish” featuring Cardi B and 21 Savage.  Both rappers are in rare form, fueled by the hard-nosed production of Tay Keith.  Cardi B handles the chorus, before brings the heat on the first verse: “These bitches wack, these bitches garb, they diss me, I disregard / Bet you if you had a dick, these bitches couldn’t get it hard.” #Burn.  As for 21 Savage, he’s as unapologetic as ever, asserting himself as “The greatest rapper [who] came out the South,” not to mention limiting the sexual endeavors (“She keep tryin’ to fuck, I told her top me for now (On God)”).

Father of Asahd remains star-studded for the third track, “Jealous,” featuring Chris Brown, Lil Wayne, and Big Sean.  Early on, the listeners get a heaping dose of Brown, who plays true to the script of his career.  Lil Wayne and Big Sean handle the second and third verses respectively.  Neither reinvents the rap game – shocking right? Nah.

“Just Us” 

SZA handles the reins all by herself on ✔ “Just Us,” where DJ Khaled is credited as the sole producer.  Khaled has some classic hip-hop to help fuel SZA’s fire via OutKast (“Ms. Jackson”).  Basically, if the backdrop sounded familiar, that’s why.  As for SZA, she does work on this pleasant number, showing off her sick pipes.

✔ “You Stay” brings in even more big names: Meek Mill, J Balvin, Lil Baby, and Jeremih.  Here, listeners get a little bit of everything – urban contemporary, smoother rap, and even a dash of Latin at the onset and at the end.  Once more, a terrific sample is the catalyst.

“Celebrate” follows, adding Travis Scott and the ever-melodic Post Malone.  Unsurprisingly, Scott handles the chorus, as well as two brief verses and a couple of interludes.  Post Malone arrives and exits early, performing only the first verse.

“Just Us,” “You Stay,” and “Celebrate” are respectable – the first two more than that the last.  The biggest attraction however arrives with ✔ “Higher,” a marvelous collaboration between the late Nipsey Hussle and John Legend.  “Higher” truly elevates Father of Asahd to a ‘higher’ level thanks to soulful, gospel-infused vocals (Legend), awesome rhymes (Hussle), and high-flying, uplifting production work. A change of feel within the production (a beat switch) on the second verse only adds to the brilliance, allowing Hussle to switch up his flow as well.  Clocking in at under three minutes, despite its brevity, “Higher” is a surefire gem – a great posthumous record for Nipsey Hussle by all means.

“Won’t Take My Soul” 

Question: How do you follow up one of the album’s best tracks? The answer, “Won’t Take My Soul” featuring Nas and CeeLo Green.  Green is in top-notch soulful form on the chorus, setting up Nas for two reflective verses.  The most memorable line from his first verse references the late Latin superstar, Selena (“Pray for the day I bust a nina on that bitch who snot Selena”).  On the second verse, he drops lots of famous names, and states on the penultimate line, “Damn, I wish all my dawgs was here.” Meek Mill and Lil Baby return for the brief, minor-key banger, “Weather the Storm.” Featuring dramatic production by STREETRUNNER and Tarik Azzouz, Meek is turned up from the jump.  Lil Baby doesn’t quite have the same bite, but his delivery here is actually quite appealing, even if Meek wins the round.

Might as well follow-up one banger with another. The slightly longer “Big Boy Talk” trades Meek Mill and Lil Baby for Jeezy and Rick Ross.  The effects are similar.  Jeezy delivers the tougher verse, but Rick hold his own, referencing drugs and of course, money.  The Jodeci sample (“Freek’n You”) is prominent on the Lil Wayne and Gunna feature, “Freak N You,” which merely changes the spelling of the record.  Even so, it’s an entertaining listen though definitely not profound in the least.

“Top Off”  

At this point in the album, DJ Khaled includes some familiar cuts. ✔ “Top Off”, released in March 2018, enlists the services of Jay-Z, Future, and Beyoncé.  “Top Off” is set in a minor key and features dramatic production work including malicious synths. At the top, the listener is served up with a silly intro by Jay-Z, as well as shout-outs from DJ Khaled. The intro is followed by a repetitive, autotune heavy hook by Future.  The lack of profundity by Future is real: “I took the top off the Maybach.” Eventually, Jay-Z delivers agile, hard-nosed, and tough-minded rhymes. Beyoncé ends up being the biggest surprise. After dropping somewhat warm vocals, she changes course with tougher, more explicit, pop-rap styled vocals. Arguably, she outperforms her hubby and Future.

“…One night’ll change your whole life / Pop the top, drop-top, baby, it’s a no-brainer…” What is a ‘no brainer’ is that “No Brainer” seeks, rather sought, to recapture the commercial success that greeted “I’m the One”.  The only difference in personnel – the absence of Lil Wayne. Perhaps Weezy knew that Khaled had a recycled, basic product on hand.  Why didn’t Justin Bieber, Chance the Rapper, and Quavo get the memo? The big rub regarding “No Brainer” is the fact that DJ Khaled doesn’t serve up anything brand-new or game changing. “It’s pleasant and ultimately inoffensive but qualifies as ‘basic AF’ because it’s not particularly memorable.

“Thank You”

Two more songs follow the familiar on Father of Asahd.  “Thank You” brings Big Sean back once more, reflecting on one lengthy verse.  His flow is compelling, as the backdrop, fueled by Mary J. Blige (“Thank You Lord (Interlude)”).  Fittingly, Buju Banton returns for the closer, “Holy Ground,” which samples the Lauryn Hill gem, “To Zion”. Is “Holy Ground” as entertaining as “Holy Mountain?” Not quite, but it gives the freed reggae artist a respectable solo outing.

Final Thoughts

So, it goes without saying that Father of Asahd was an expensive album – all those featured guests! The question is, how good is Father of Asahd, or is it good at all? Ultimately, like most DJ Khaled albums, it has its moments.  That said, as an album, it’s not cohesive – it’s a collection of records, most of which are respectable, but not game changing.

✔ Gems: “Holy Mountain,” “Wish Wish,” “Just Us,” “You Stay,” “Higher” & “Top Off”

DJ Khaled • Father of Asahd • Epic • Release: 5.17.19

Photo Credit: Epic