Consider what is written below as a window into a simpler time, a time when the author had little more to worry about but the heat of the sun and the chill of his iced tea. Now, published on the eve of the author's regrettable return to his institution of higher learning, and hence a return to general feelings of stress, burden, and responsibility, let this review serve as a post-mordem tribute to the late, great, #Summerrrrrrrrr2015.
I think it's important to say right off the bat that this is not a Chance the Rapper album. Granted that many believed this to be true, I think it's important to not allow any disappointment about this album not being what it was expected to be to get in the way of evaluating what it actually is. Dismissing this album as subpar because it's not a Chance solo album is a mistake. It's vital to see this album in its own context, and not through whatever presumptions you had about what you thought it was supposed to be. Just look at Cody Maverick. He expected to be the best surfer on the beach as soon as he arrived. Immediately he challenges reigning champ Tank Evans to a surf off, and, well...
Lol! Cody bailed so hard brah!
It takes this rough fall, and a lot of butting heads and comical hijinks with former surf legend Big Z for Cody to finally loose his ego and view his surfing talent from a rational perspective.
Consider the gif at left as a metaphor for one's enjoyment of Surf if they try to rationalize it as a Chance the Rapper solo album. But once you meet the album on its own terms you'll be pleasantly surprised to find an album that is the product of a much broader musical community. Granted, Chance is a dominant voice on the record, but so is Donnie Trumpet's horn, as well as The Social Experiment's trademark smooth bass, groovy synths and thumping kick drum. But the real range on the record comes from small contributions from a large swath of musicians, which add to make up the majority of the album. The amount of artists, some famous, some more obscure, that were gathered on this album demonstrates Chance's power not only as a rapper, but as a creative force that can bring other artists together. Busta Rhymes epitomize's Chance's role on Surf when, on "Slip Slide" he opens his verse with "Heyoo Mr. Chance the Rapper, I greatly appreciate the way you roll out the red carpet, allowing me to articulate myself." Chance's most important contribution on this album is not his verses, or his production, but being the central figure in the whole project, the glue that keeps the album from falling apart like Cody's first handmade board.
With so many musicians involved in the project, the album loses any chance of making a singular personal statement, but it gains range of diverse, personal moments. Some of my favorites include Busta Rhymes' barn burner of a verse, in my opinion the best of the album. B.o.B discusses the potency of his artistry on the same track: "If I plant one of my thoughts marijuana would grow." Chance takes a unique tack in "Windows", warning his own fans against deifying him. Big Sean and Kyle buoyantly assert they individuality on "Wanna Be Cool", and Erykah Badu floats down from the heavens on "Rememory" with an angelic verse, i.e.: "Chancellor baybeeeeeee".
The great achievement of the album is bringing all these individual contributions together to create a singular tone -- the album is bursting with optimism, serendipity and, somewhat ironically for such a collaborative album, assertions of artistic independence. I think that's what makes the album for me. It's really fun to hear a record made by people brought together by a genuine enjoyment of making music with each other. I mean, they gave the damn thing away for free. This album exists wholly because these artists wanted it to.
Yet, though I can say all I want about what I like about this album, I can't ignore the looming fact that some of it isn't that good. In keeping with the inclusive, community-based feel of this album, there is a lot of instrumentation on these tracks. Sometimes it works, but many times, the textures just get too busy, and too muddy. Donnie Trumpet's solo tracks are hit-and-miss. He seems to be going with a purely melodic approach to the trumpet in these tracks, which sometimes works, (Just Wait) and sometimes doesn't (Something Came to Me). There are some out-and-out duds too. "Questions" and "Pass the Vibes" come to mind. And, let's be honest, if "Sunday Candy" got a bunch of radio play, everyone would be really sick of it by now. I could go on, but in the end, I'm not sure if I care about my own criticisms. I know I shouldn't like this album as much as I do, and I'm sure there are a couple more tracks that the other Sad Moth reviewers with think are too chummy, too boring, are mixed poorly, etc., it's just that when I criticize this album I feel like the angry old next door neighbor who calls the cops because the party's too loud.
In the end, this album is powered by an intoxicating distillation of raw, sonic exuberance, which causes me to give its imperfections somewhat of a pass. As Big Z teaches Cody, it's not about if you win or lose, it's the about the joy of surfing. Just like this album, Cody doesn't turn out to be the best surfer, he doesn't even win the contest, but he realigns his priorities and is able to appreciate his abilities for what they are. So kick back this summer, put on Surf, admire it for what it is, and I think you'll really enjoy it. Oh, and maybe add one more track onto that playlist. It's called "Get What You Give" by a little o'l band (they're pretty obscure, not sure if you know them but I've got them on vinyl) known as the New Radicals.
Favorite Tracks: "Slip Slide", "Windows", "Wanna Be Cool", "Rememory"
7.5/10
