DJ Khaled, KHALED KHALED | Album Review 💿

As is the usual case, on KHALED KHALED, DJ Khaled assembles an album featuring big names with a few hits scattered throughout the track list.

Let’s just take the time to acknowledge, since last releasing an album, 🎙 DJ Khaled became a 🏆 Grammy winner.  Yes, it’s shocking (no shade) but being honest, could “Higher” by John Legend and Nipsey Hussle from 💿 Father of Asahd be denied, particularly following the murder of Nipsey? No, of course not! After a two-year hiatus, the Khaled returns with his latest star-studded compilation, 💿 KHALED KHALED.  No, KHALED KHALED won’t change your life, but if you pick and choose, you’ll find a hit or two worth spinning more than once.

“Thankful”

“And I know that somebody been praying for me / Head above the ground, and I could’ve been six feet deep…” ✅ 🎵 “Thankful” marks one of the elite moments from KHALED KHALED.  Here, DJ Khaled enlists the vocals of 🎙 Jeremih as well as a gospel choir.  The tone is set by the lushness and richness of the sound, which definitely makes one’s ears perk up.  Furthermore, “Thankful” is fueled by a soulful 🎙 Bobby Bland sample.  Also, can’t leave out 🏆 Grammy-winning rapper 🎙 Lil Wayne, who appears after the three-and-a-half mark for a relatively brief but fulfilling verse on this epic five-and-a-half-minute-plus joint.

Following the thankful opener, 🎙 Lil Baby and 🎙 Lil Durk join Khaled on the menacing, trap banger, ✅ 🎵 “Every Chance I Get.” 🎛 Tay Keith is responsible for the production, which both rappers murder.  Lil Baby in particular shines with his distinct tone and gets the best part of the song, the chorus.  Durk is no slouch either, providing solid contrast to Lil Baby on the third and final verse.  Another banger follows with 🎵 “Big Paper” featuring Grammy winner 🎙 Cardi B bringing the heat.  Nothing game changing is served up here, but who doesn’t enjoy a dose of hard-nosed, unapologetic Cardi (“I son bitches, move Kulture out the car seat”)? Woo!

“We Going Crazy”

Moving on to 🎵 “We Going Crazy,” DJ Khaled enlists 🏆 Academy Award and Grammy-winning R&B artist 🎙 H.E.R. and 🎙 Migos.  The record blends reggae and southern rap, incorporating a key sample from 🎙 Mandrill (🎵 “Children of the Sun”).  As always, H.E.R. delivers a nuanced performance though it should be noted we get some surprising profane moments (“Now you fuckin’ with the Don, uh, with the face of a model”).  All three Migos contribute, though most of it falls within the third verse or ad-libs.  Khaled gets in on the action too (shocker).

On 🎵 “I Did It,” the crew is comprised of 🎙 Post Malone, 🎙 Megan Thee Stallion, 🎙 Lil Baby (again), and 🎙 DaBaby.  Post Malone sings the chorus, which is a fitting role, particularly given the pop/rock vibes on this particular rap track.  The real heat comes on the first verse where Megan Thee Stallion comes out swinging and closes her verse out with the bullet, “I really encourage my haters to talk / Throwin’ that shade only keepin’ me lit, huh.” Lil Baby follows with the second verse, while DaBaby takes the third and final verse, asserting, “Ain’t no stoppin’ it, pink and blue paper all day like Monopoly.”  The record is respectable, once more relying on a key sample (🎙 Derek and the Dominoes, “Layla”).

🎵 “Let It Go” 

Following “I Did It,” KHALED KHALED unleashes one of the odder collaborations on paper between 🎙 Justin Bieber and 🎙 21 Savage.  Perhaps the most these two have in common are their respective Grammy wins.  Anyways, on 🎵 “Let It Go,” Bieber plays his usual melodic role performing the first verse, pre-chorus, and chorus.  It’s not the best performance I’ve heard from him but it’s okay.  21 Savage is true to self on the second verse, including lines like “Ass so fat, can’t sit up / Shawty got a load in the back like a pick-up.” Nasty!  Worth noting, Lil Baby makes his third appearance on the album with 🎵 “Body in Motion.”  He’s not the only one as Khaled taps 🎙 Bryson Tiller (from the 502!) and 🎙 Roddy Ricch as well.  The record has grown on me with a couple of listens but still doesn’t particularly wow me.  It also doesn’t help that it runs over five minutes.  While that worked in favor of the brilliant opener, “Thankful,” here, “Body in Motion” feels too long.

✅ 🎵 “Popstar” follows, in all its familiarity. “Popstar” is a banger by design. It’s a ‘by the book,’ bravado-heavy trap joint.  The production by Khaled, 🎛 OZ, and 🎛 David & Eli is sound but not game changing. 🎙 Drake is locked-in to high flex mode, which is clear when the chorus drops right after the brief intro:

“Bitches callin’ my phone like I’m locked up, nonstop
From the plane to the fuckin’ helicopter, yeah
Cops pullin’ up like I’m givin’ drugs out, nah, nah
I’m a popstar, not a doctor.”

This is one of the selling points of “Popstar,” even if it lacks profundity. Beyond the chorus, things don’t get any deeper as Drizzy spends time flexing about his tough, swagger-laden ‘pop star status’ which includes any girl he wants, anything he wants – etc., etc., etc.!

“This is My Year”

Following “Popstar,” the listener is treated to a pair of incredibly intriguing records.  The first is ✅ 🎵 “This is My Year,” which features a star-studded cast of 🎙 A Boogie Wit Da Hoodie, 🎙 Big Sean, 🎙 Rick Ross, and perhaps most surprisingly, 🎙 Diddy.  The first time hearing it, I found the contributions by A Boogie Wit Da Hoodie to be, um, different. After re-listening and processing it, he definitely constructs an alluring listen.  This continues on the chorus, with Diddy providing backing vocals and ad-libs throughout.  Big Sean comes through on the second verse, showing off a compelling flow and delivering some solid lyrics in the process.  Rick Ross rides the beat easy on the third verse, rapping about money – his specialty.  Surprisingly, Diddy brings the fire on an interlude preceding the final chorus. I guess Bad Boy really don’t stop!

✅ 🎵 “Sorry Not Sorry,” the other truly intriguing record, brings two rap legends together: 🎙 Nas and 🎙 Jay-Z.  Getting both on the same song – a rarity – is huge. Further upping the ante is the underrated 🎙 James Fauntleroy providing some sweet vocals.  Are those sweet vocals over processed? You bet and needlessly – just let James sang!  Also, worth noting, is a guest spot by 🎙 Harmonies by the Hive aka 🎙 Beyoncé.  Clearly the most hyped song with the arrival of KHALED KHALED, it is definitely a must-hear.  If Khaled did nothing else but reunite Jay-Z and Nas after more than a decade on the same track, that was enough.  Of course, both serve up some interesting lines whether it’s “I’m coin-based, basically cryptocurrency Scarface” (Nas) or “Nah, that’s a triple B, can’t forget ‘bout the other Bey (Jay-Z).  Give 🎛 STREETRUNNER, 🎛 Tarik Azzouz and of course the DJ himself credit for the production. 

“Just Be”

🎙 Justin Timberlake gets in on the action on 🎵 “Just Be,” the 11^th track of KHALED KHALED.  As always, Timberlake sings beautifully.  The backdrop he sings over is also radiant, set in a major key.  That said, I don’t necessarily leave the album considering this to be the crème de la crème necessarily.  Once more, Bryson Tiller and H.E.R. return on 🎵 “I Can Have it All,” adding the electrifying 🎙 Meek Mill.  I love the vocals by Tiller on the intro, which is soulful and set in a major key.  Soo enough, however, the tide changes.  “I Can Have It” becomes much moodier, with H.E.R. serving up more dramatic, tougher vocals.  Again, like “We Going Crazy,” the vibe is a bit different than what we usually here from her.  She plays the edgy role effectively, with Meek Mill following on the second verse, true to self – aggressive, loud, and giving no you-know-what’s.

The less heralded of the two advance singles featuring Drake, 🎵 “Greece,” arrives as the penultimate cut.  Listening to it, even within the context of KHALED KHALED, I still have reservations, particularly compared to more effective collaborations he’s had with the DJ in the past.  More interesting is the Jamaican-tinged closing cut, 🎵 “Where You Come From,” which features 🎙 Buju Banton, 🎙 Capleton, and 🎙 Bounty Killer.  A bit unexpected (understatement), something tells me this record might’ve been more effective elsewhere on the album. I find it ear catching by all means, I’m just not sure that’s how I would’ve concluded this project.

Final Thoughts 💭 

So, what does one make of KHALED KHALED?  As with most DJ Khaled albums, it has its fair share of moments.  If nothing else, Khaled has always been able to secure a number of big-name stars on his projects. Does every collaboration or combination work? No, of course not.  Still, there are some songs here worth spinning beyond the album, with the likes of “Thankful” and “Sorry Not Sorry” leading the charge. 

✅ Gems 💎: “Thankful,” “Every Chance I Get,” “Popstar,” “This is My Year,” “Sorry Not Sorry”

🎙 DJ Khaled • 💿 KHALED KHALED • 🏷 We The Best / Epic • 🗓 4.30.21

[📷: We The Best / Epic]