Boldy James is strictly business on new album “Killing Nothing”

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by Sydney Fluker

Boldy James does not waste time. 

Six months after dropping “Super Tecmo Bo” with frequent producer The Alchemist, James is back with the full length project “Killing Nothing.” Produced entirely by Los Angeles clothing and production collective Real Bad Man, “Killing Nothing” shows that even after over a decade in the underground game, James is still continuing to rise. 

While James’s most notable works come from The Alchemist, “Killing Nothing” is his second project with Real Bad Man after finishing out his four-project run in 2020 with “Real Bad Boldy.”

“Lyrically, a lot of rappers are so caught up in what everything thinks they’re supposed to be doing, that they don’t kill records anymore,” James said on his new record. “I feel like even though I don’t make the biggest energy records, or club records, for girls to shake their ass too, I feel like I got the most consistent flow in the game… There are others who try their hardest, but they ain’t killing nothing or letting nothing die.”

Everything he said can be felt through the record.

Echoing D.J. Premier’s production on “N.Y. State of Mind” on opening track “Water Under the Bridge,” James wastes no time setting up the album for what he’s known for — tight, almost punch-like bars about drug trade. Despite lacking the vocal range found in rappers like Childish Gambino and Drake, James’s monotonous vocals are still notable. 

No time is wasted throughout the album  — James keeps it short and sweet, ending songs early when the story is told and relying on lyrical flow to deliver his message. Staying true to himself, there are no overly flashy choruses or background beats, making his music feel personal to him and with each song taking the listener on a journey through various successful drug trade experiences.  

While there are no outright earworms, some tracks are catchier than what one would expect from a previous James album. “All the Way Out,” one of the two singles from the project, feels more upbeat than a normal Boldy beat, but he holds it down with bars like “Airing shit out only way I know how to vent.” On “Ain’t No Bon Jovi,” James tackles it alone, spitting over the soulful Madlib-esque beat with a smooth flow that’s riddled with hip hop references. 

“Medellin” features an unexpectedly catchy chorus and jazzy background instrumentals, with CRIMEAPPLE almost outshining James with his Spanglish feature. “We the Medellín, while these n***** just be medellin,’” will probably get stuck in your head for hours, but the subtle reference to the Medellín Cartel led by famous drug lord Pablo Escobar is a true Boldy move.  

On “Cash Transactions,” the chorus is catchy but simple and just about sums up James’s entire discography — “I’ll probably never love this rap shit more than these cash transactions/I got a passion for sellin’ drugs.” James leaves no room for confusion about what he does, owning the good, bad and ugly that comes with drug trade. 

The second half of the album brings it back to Boldy, where he goes solo for the final six tracks. Real Bad Man’s diverse production keeps it lively, providing steady beats for Boldy to body alone. Despite not having a ton of records out, Real Bad Man and Boldy James have apparent chemistry that will hopefully return in the future. The mysterious beat on “Sig Sauer” is the perfect background for James to deliver sharp bars about his version of success, with “Amiri denim with the clip hanging/See the strap pokin’ in my Chrome Heart.”

“Killing Nothing” shows the beauty of Boldy James — despite the rate at which he releases mixtapes and albums, nothing ever feels repetitive or reused. Throughout his discography, he holds his own against impressive features and notable producers, building a name for himself as an active rapper addicted to the game. Forever original, James will continue to surprise and thrive in the underground. 

favorite tracks:

Medellin (feat. CRIMEAPPLE)

Cash Transactions (feat. Knowledge The Pirate)

Sig Sauer

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Sydney Fluker is a staff writer.

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StereoVision's AOTY Power Rankings: April

By StereoVision Staff

Welcome to our Album of the year power ranking series! Each week all our team members submit their “top 10 albums of 2020 so far” along with some notes about why their list looks the way it does. These lists are then compiled into our overall power rankings which you can find below. Keep scrolling to see each team members personal list which gives interesting insight on how different albums age over the course of the year for specific people. Thanks for reading, we hope you enjoy the article!

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The Teams Picks:

The biggest change in my rankings this week is the slip of Eternal Atake. Although it is home to some of the best songs of the year, I have come to the realization that there are just too many forgettable tracks to call it a top five project of the year at this point. The Weeknd continues to grow on me as Abel jumps one spot. I’m glad to say that Mac Miller’s posthumous album Circles is an album that’s aging extremely well for me thus far this year. As someone that’s been following Mac since Kids, I don’t think I was ready for Circles at the beginning of the year. Now in today’s climate where thousands of humans are dying daily due to COVID-19, I feel desensitized to death and finally able to overcome my emotional barriers to the music and appreciate it for the excellent body of work it is. I can honestly see it jumping A Written Testimony or 3.15.20 which would be quite the accomplishment as I’m crazy about both records. Lastly, a new release that made a big splash in my power rankings this week is Giveon. His debut EP Take Time is ultra-smooth, rich with excellent song-writing, and most importantly, different than anything anyone else is currently doing in R&B. Check the site this weekend to read my review of Take Time. -Spencer Lobdell

My Top three stays the same this week and it looks like it's going to take a really impressive body of work to move 3.15.20 and A Written Testimony. The first new entry to my ranking comes at the four spot with an excellent project from Giveon. Drake’s “Chicago Freestyle” brought a lot of attention to this up and coming voice in R&B, and he delivered on all expectations with his project Take Time. Another new addition to the list this week is Knxwledge 1988. Without the help of many features Knxwledge is able to really shine on this album for his talent as a producer (I would be wrong for not mentioning the greatness of “Don’t Be Afraid”. The final new additions come in the form of The Price of Tea in China by Boldy James and After Hours by The Weeknd. Boldy and The Alchemist sound like they have been working together for years on one of the most impressive albums from a rapping standpoint. After Hours has grown on me since its release and from the way it looks now it has a legitimate chance to keep advancing up the list at least marginally. -Miles Hagan

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After receiving requests to listen to several albums, my rankings from week one have obviously shifted. As much as I love a good debate, I must give credit where it is due. Remaining at the top of my list is CHILOMBO. Again, name another album as captivating and versatile that is also 20 tracks long with no skips! As a person who is inspired by the stories of others, PTSD, A Written Testimony, and Black Habits will likely remain on my list for some time. Opposed to last week, I now recognize the January release date of Time Served allowed time for it to grow to be a fun favorite of mine. Lyrically, Moneybagg Yo is unable to compete with other projects on my list, making my decision easy to move his album from position two to ten. My Turn found its way onto my list because upon reaching the end, I was urged to listen again. Whenever Lil Baby lost my interest, he managed to regain it within the next song or two. Ultimately, I need to sit with all of these projects some more and I am still just waiting for new music. -Amaya Lorick

No changes this week. I’m still moving through my backlog and trying to decide whether or not I like the new PND album so expect more on that in the future! -Carter Fife

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For the most part, the top half of my list remained the same from week one. I’ve found that, typically, the albums that leave the best impression on me do a great job of balancing the traditional with the experimental or lean towards the latter characteristic. Artists who reinvent themselves or present entirely innovative sounds manage to impress me the most, which is why artists like The Weeknd, Childish Gambino, 070 Shake, Mixed Matches, Gupi, and Denzel Curry currently dominate my list. Another way to get on my good side is to simply give me a fun album with high replay value, which Lil Uzi Vert and Don Toliver both managed to do extremely well. Looking forward, with under-the-radar acts such as Mixed Matches, Gupi, and polearm coming through with such captivating material, I can’t wait to see what 2020 has in store for independent music and emerging artists. -Owen Tait

Before my fellow Chicagoans even say it, I know the absence of G Herbo’s PTSD is alarming. Despite it being one of my favorite releases of the year, the album’s dull moments become more obvious when lined up next to projects like the 10 on the list.  After Hours is probably the most well written, produced, and executed albums this year.  The battle between #1 and #2 is a close one. A Written Testimony has such a powerful message and motive behind it, as well as multiple Jay-Z features so it’s hard to beat. Man Alive makes it’s debut at #10 since I’ve found more time to sit with it. -Courtney Fields

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This week, a few albums have really grown on me and others have simply lost their charm and replay value. Namely, LUV vs. The World 2 has proven to be a fantastic album to listen to during quarantine. The album has a plethora of melodic trap beats and has proven to be catchy background music when I mute my mic during online classes. Mac Millers Circles is similar, as it also has every mood you’ll go through during these times, along with soulful, jazzy instrumentation. Tame Impala’s new record, The Slow Rush, has also grown on me. Kevin Parker’s newest effort is everything his psychedelic rock experiment set out to do. While it doesn’t nearly compare to Currents, it’s a notable entry to an already legendary discography. Along with strong releases from Ant Clemons and PARTYNEXTDOOR, this week has only been a continuation of 2020’s unbelievably solid run of music. -Luke Modugno

Now that March has concluded, I found my picks from last week have not changed much. Still Sitting at top three are Circles, PTSD, and A Written Testimony, which are all thoroughly strong projects. I recently started getting into Jhené Aiko’s album Chilombo and Brent Faiyaz’s hot new album Fuck The World which seem to be very well-crafted pieces thus far. Another thing I noticed is that I wasn’t listening to A Boogie Wit Da Hoodie and Lil Wayne as much. -Colson O’Connor

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The Alchemist and Boldy James Link up Again to Create a Dark, Grimey Project in the Price of Tea in China

By Luke Modugno

There’s something intoxicatingly grim about Boldy James’ apathetic, lackadaisical delivery. The Detroit MC’s flat, monotone vocals have been helping him kick ill bars so smooth, a passive listener might gloss over the haunting tales about dead friends, drug trafficking and the mental trauma that comes with life in the underbelly of society. If anything has been a constant in Boldy’s relatively overlooked discography, it’s that he’s a master of utilizing minimalistic tones. Fittingly, for his latest LP, The Price of Tea in China, Boldy has once again linked up with raps most distinguished minimalist: The Alchemist.

From the moment they linked up on their 2019 effort Boldface, the partnership was clearly special. Almost favoring silence over noise, The Alchemist’s notoriously unique production fits Boldy’s laid-back style flawlessly. From the opening moments of the intro track “Carruth,” it’s apparent the pairs innate chemistry; a dusty piano sample accompanied by Boldy’s eerie lyrical output. “My friends came and went but most of them was murder victims/dead before 20 or caught a frame and had to serve a sentence/grew up in a hell hole, that’s why I think so twisted,” raps Boldy. The track sets the tone for the rest of the project, with both Boldy and The Alchemist sticking to their strong suits. 

You know exactly what to expect from an Alchemist project and The Price of Tea in China is no different. The usual unbelievably nuanced production behind the table from The Alchemist and an impressive showing of intimacy and deep cuts from Boldy: the project is exactly as advertised.

The Price of Tea in China represents a complete evolution of Boldy James’ artistry and skillset as an MC. Usually rapping over hard hitting, unapologetic trap beats, production from The Alchemist couldn’t be more of a sonic foil to the production on the rest of his projects. But Boldy welcomes the challenge with open arms, as he kills each and every one of the beats cooked up for him on this project. From crafting a perfect flow on “Slow Roll,” to trading bars with BENNY THE BUTCHER on “Scrape the Bowl,” Boldy solidifies himself as one of the more talented rappers in the game right now. But Boldy didn’t stop there, as he outshines his other guests, Freddie Gibbs and Vince Staples on “S.N.O.R.T.” and “Surf & Turf.” The Price of Tea in China really feels like a coming out party for Boldy James thrown by The Alchemist, making the album feel like a victory lap for Boldy. 

For The Alchemist, this album ranks amongst the best of his collaborative efforts. His crate-digging, ambiguous, sample-heavy production is at the top of its game on The Price of Tea in China. While the variety of the beats rarely changes, the project alternates between uptempo trunk rattlers (“Scrape The Bowl,” and “Slow Roll,”) and slow paced, lethargic, grimey deep cuts with “Carruth” and “Phone Bill.” The lack of sonic variety presents a sort of duality for the project. While The Alchemist perfectly establishes the main thematic elements of the album through his minimalistic style, he also limits the versatility of The Price of Tea in China cornering Boldy’s versatility as an MC by giving him similar beats. Half way through the album, the album begins to show itself as a one-trick-pony. An extremely engaging and compelling one-trick-pony, but one nonetheless. 

Overall, The Price of Tea in China is a pleasant surprise for a project. From the outset, Boldy and The Alchemist were an unlikely pairing. But both of their collaborative efforts have been hits, and the pair seems to be only improving upon their newfound chemistry. 

With Boldy James joining the Griselda crew, look for him to continue to make splashes in the underground rap scene. 

Favorite Tracks

Carruth

Surf & Turf (Feat. Vince Staples)

Speed Demon Freestyle 

Rating: 8

Listen to The Price of Tea in China here:

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