An album by Bobblehead
Review presented by Warren Peace
Listen to “No Sleep” by Bobblehead.
Bobblehead, better known as DJ Bobblehead, got in touch with The Write Reviews about giving his No Sleep album a track by track breakdown. Having never heard a track featuring Bobblehead, I was intrigued to hear the artist’s music. And now, without further delay, I have the opportunity to analyze the fifteen tracks that come together to form No Sleep.
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1- Overtime (Prod. Cherne)
This opening track for No Sleep has a noticeable pause after a few notes play then picks up with a beat that will make people want to bounce along to the music. Bobblehead has a freestyle type of flow with his lyrics as he seems to spit rhymes as they come to mind instead of penning out actual bars. This gives him an unorthodox flow that can keep things interesting and entertaining, but it can also cause his flow to feel forced and make him sound confused from time to time. It would be incredible if he could master this delivery. His content is pretty scattered as his topics range from politics to wanting his dad to be proud of him. This is the first track though, so there’s nothing wrong with spitting some bars and letting the audience get a feel for his sound. Not too shabby to begin No Sleep.
2- Good Times (Prod. AmpOnTheTrack)
The instrumental fits the title of the track very well. Bobblehead continues the delivery he had on the last track, and spits lines that are all over the place. When it comes to “Good Times” and Bobblehead’s lyrics, there have practically nothing in common. He brings the hook to the audience once and drops two lengthy verses that have no direction. Again, it seems like he is just free styling. Free styling isn’t bad, and if he is freestyling then he’s actually impressive, but freestyling is not the way to go when putting an album together. He flips some wordplay, displays a good range of vocabulary, and rolls well with the beat. By the time the track comes to an end though, the audience is going to be unfulfilled.
3- Lost Soul (Prod. Cherne)
I really enjoy the beat for “Lost Soul”. There’s a little bit of an edgy sound mixed with some great patterns of the drums. Bobblehead begins the track by seemingly telling a story, but then he suddenly shifts directions when he mentions his grandad passing out of nowhere because the devil took him and he feels he needs to take a stand. Somehow he gives away his soul before a really short hook divides the verses by repeating ” I’m a lost soul” for the audience. In the second verse he seems to start dropping random bars, even contradicting himself by saying something about helping musicians then saying he’s gotta focus on himself only in the next line. To a degree, the random subject matter he brings to listeners could be fitting for a track titled “Lost Soul”, but it doesn’t seem like Bobblehead is purposefully making that happen here. So far though, “Lost Soul” is the best song on the album.
4- Options feat. Dillinger Floyd (Prod. Bobblehead)
The first track with a featured artist is also the first one to feature an instrumental by Bobblehead. His ability as an instrumental engineer is pretty damn good as he takes a sound I would imagine hearing in a sci-fi movie and creates a melody similar to what you would hear in a circus. After giving the music enough time to resonate with the audience. Bobblehead comes onto the track with the first verse. He chooses to attack the track with an all out lyrical approach. His first few lines flow like water and are lyrically on point. Somewhere in the middle of his verse, Bobblehead begins losing the tenacity his flow held in the beginning and in a couple places, he nearly stumbles over his own words. The effectiveness of his words and microphone presence he had on the audience dwindles from the middle Bobblehead’s bar set to the end. There isn’t a hook to separate the two emcees, just a little patch of the beat playing without anyone spitting some rhymes. Dillinger Floyd takes the second and last verse. From the very moment he begins dropping lines, Dillinger’s flow is offbeat. He does a great job with his multiple syllable rhyme schemes, if you ignore the forced ones, but never seems to ever fall in line with the music as if he never heard a beat playing at all. Dillinger’s doesn’t follow Bobblehead’s lead either, going with an aggressive tone but instead of attacking the beat lyrically, Dillinger scatters his content in several directions. Fortunately, “Options” gives the audience a peek into the potential Bobblehead has, as an instrumental engineer and as an emcee.
5- Collapse (Prod. Bobblehead)
For his second, and final, instrumental Bobblehead provides on No Sleep, he decides to roll solo with the microphone. Bobblehead bangs out a beat with bounce for “Collapse”. As Bobblehead laces his lines, I can’t help but to think he might be too concerned with the multiple syllable rhyme schemes, which is causing the value of his content to drop and is also throwing off his timing. I really like the chorus, and it helps the track by giving bars filled with scattered content a place to be shared. In the second verse, Bobblehead has a section that uses one to two words per line, and doesn’t seem to be effective in anyway except to kill some of the time he could be using to deliver entertaining bars. The hook comes around again to close out the song. Overall, this might be Bobblehead’s best song based on the randomized content being a fit for the hook and vice versa. Not a bad addition to the album, but has some questionable areas that could have been tweaked and improved upon.
6- Gratify (Prod. Nagra Beats)
I really like the relaxed vibe provided by the instrumental, which opens many different avenues the emcee can pursue in terms of content and delivery. For some reason, Bobblehead decides to start his flow off aggressively, but tones it down after a few bars drop and provides a delivery that coincides with the music. Bobblehead has more direction with this track than any before it, in my opinion, as he includes most of his lines about getting ahead after falling beyond. He spits a couple of really great metaphors during the course of the song. Several times Bobblehead gives the audience inspirational lines while other times he seems devoured by the negativity and mistakes he had endured in life. There isn’t a hook on this song; instead Bobblehead allows a few breaks between his lines at seemingly random times. I can relate to a lot of stuff Bobblehead says in “Gravity”, and I’m sure a lot of other people will be able to as well.
7- Bounce (Prod. Dr. Potter Beatz)
The beat for “Bounce” has a little bit of that very thing included in the instrumental, which is a completely different feel for the audience than supplied by “Gravity”. Within Bobblehead’s steady stream of bars, he lays claim to being a hot spitter (or a cold one, depending on the line) more than anyone should on a single track. Most of the lines on “Bounce” are self-hyping his lyrical ability, which is really just a bunch of multiple syllable rhymes that neglect metaphors, wordplay, and punchlines. Once again Bobblehead doesn’t use a hook on the track, which can be detrimental to an album simply because there’s very little that will stick with the audience after the album ends. The song suddenly ceases when Bobblehead runs out of bars.
8- Homegrown feat. Narcotic and Twenny (Prod. Dr. Potter Beatz)
When this song kicks off, the first thought I had was that Bobblehead should have a lot more songs of this caliber. The beat has bounce but still finds a way to incorporate a chill sound. The hook opens everything up and matches the music perfectly while giving the song some direction. Additionally, the hook is catchy, well performed by Narcotic, and likeable. Narcotic also has the first verse, singing his way into the ears of listeners and shaping the song by adding an extension on the topic brought to the audience from the hook. Bobblehead may have delivered his best round of bars when he enters the track on the second verse. His flow is on point and every line he spits sticks to the subject matter at hand. Twenny brings a quick pace with his bars, adding another element along with the distinct sound of his voice. This track bumps, and easily makes the Featured Tracks list.
9- Beast Mode (Prod. Cherne)
This beat has an aggressive sound and brings something different to No Sleep. Bobblehead doesn’t, however, as he reverts back to the random ramage of bars that seem centered around stacking syllables that rhyme instead of being concerned about the actual content. The hook isn’t bad at all, but could be worded slightly different to be more likely to stick with listeners. One of the shorter tracks, Beast Mode isn’t a bad addition to No Sleep but it doesn’t bring anything new to the table.
10- Voices (Prod. Cherne)
I think this is the second album review in a row to have a song titled “Voice”. I’ve never had two album reviews have a song titled the same thing. Bobblehead brings a broad barrage of bars that have a lot of multiple syllable rhyme schemes, but there isn’t really any direction. Bobblehead seems to just rhyme about anything that will rhyme. There isn’t a hook on this song, either.
11- Exodus (Prod. Cherne)
There’s a line in this song where Bobblehead says he’s “sick of all these labels hitting me like I wanna sign but I got no money, yeah that’s funny”. If Bobblehead is freestyling this entire album then his multiple syllable game is ridiculous. His content continues to be all over the place, and he has a tendency to sound unsure of himself as he spits his lines.
12- Lifted feat. Zeeb0nTheBEAT (Prod. Ruboy)
Zeeb0nTheBEAT hits the track running and follows in Bobblehead’s direction without a pause in the beat, although he claims there is a beat on the instrumental. Bobblehead drops a pretty catchy chorus, but could use something more to hype it up and give it more emotion to help it stand out more. On the second verse, Bobblehead displays an ability to spit rhymes double time for the first time on the album. Unfortunately, he continues to do some self-hyping and doesn’t really hit home with any of his punchlines. The hook swings around again before the beat rides out the song.
13- 1King2Queens feat. Wynne and Lex Leosis (Prod. Nagra Beats)
Slowing down the pace with the beat for 1King2Queens, Bobblehead sticks to some basic rhymes that have no true direction and is likely to leave the audience baffled. Bobblehead has the vocals on the chorus, which has a chance at being catchy until the listener wonders what being dead or deceased has to do with Bobblehead being the king with two queens. Wynne blazes through the second verse with an impressively fast flow that rolls well with the beat. She swings through on the lyrical tip, not connecting as hard as she would like but still slamming punches with more consistency than most of the verses I’ve heard on the album. The potential Wynne displays is not up for debate. Wynne also starts the third verse after another round from the confusing chorus, and handles herself well before Lex Leosis takes over the microphone. Lex Leosis also delivers an impressive round of bars. The last verse begins with Lex Leosis dropping a few lines and closes with Bobblehead back on the vocals. The longest track on the No Sleep album concludes with a final round from the hook.
14- I Thought (Prod. Dr. Potter)
“I Thought” uses a slower style of instrumental for the second consecutive song. Bobblehead lets the chorus give the track some direction, and is able to bring some catchy lines with it. His first verse flows in the path of the hook, speaking about a female that seemingly betrayed him. Once he says she called him a hypocrite though (and never explains what he was called a hypocrite for), he goes on a self-hype mission for a few lines and loses focus. After admitting he may be a coward, he returns to the topic at hand to close out the first verse. The second verse doesn’t really explain anything about the situation. Instead Bobblehead just gives the audience incomplete thoughts that relate to the topic. The beat plays while Bobblehead says a few words, and the audience is brought to the last song of the album.
15- Last Call (Prod. Cherne)
The end of the album, “Last Call” features Bobblehead spitting a bunch of self-hype lines that focus on multiple syllable rhymes. This time Bobblehead is able to throw some pretty clever rhyme schemes together, although I can’t be sure if he did so intentionally or not. By this point of the album though, the audience would probably like to hear a track with some different content. There isn’t a hook for “Last Call”, just Bobblehead dropping bars to bring his No Sleep album to an end.
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The Write Up
Bobblehead has the tendency to delivery a great flow, and he nails multiple syllable rhyme schemes. For most of the album, I had the impression that Bobblehead was freestyling his lines, but I cannot make that claim without knowing for sure. Otherwise, Bobblehead could use some work in several different areas and could benefit from developing his topics more in his tracks, or at least give his songs some direction. Focusing less on multiple syllable rhyme schemes and more on the actual content of his lines would be very beneficial in keeping the attention of the audience. At the end of the day, Bobblehead should use No Sleep as a learning experience and move toward his next project.
(1.5 out of 5 stars)
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