Maybach Music Group’s Stalley has always had soul, with more street edge than Wale but less mainstream appeal. He doesn’t rhyme about overcoming the struggle with the precision and light self-deprecation of a J. Cole and he’s not a lyrical phenom like Kendrick Lamar. But Stalley has an unequivocal belief in himself and, up until now, has been happy to play to his own strengths with or without the recognition of the mainstream.
On “Saving Yusef,” Stalley is seen employing the formula of artists like and now, Anderson Paak, wherein the blues and funk influences of the artist’s yesteryear shines though. “The Beast” is reminiscent of early Outkast; “Cut a Rug” features Big KRIT and takes you straight to the streets of the South. The project boasts of 15 songs, all with production soulful and melodic, matching Stalley’s strength in storytelling.
Thatap the easy part, though. Stalley doesn’t have an ear-for-production problem — he has an identity problem. Whereas projects like “The Laughing Introvert” gave way to a vulnerable perspective for the MC, “Saving Yusef,” doesn’t do enough to prove what Stalley has endured in his evolution in the rap game. It sounds more like he’s attempting to create a sound thatap already been done in hip-hop.
In one instance he stays true to his underground roots (and where his skills shine the strongest) with tracks like “Ridah Music.” But when he attempts an extra mainstream edge, like on “Hunnid Stax,” the effort — and much of the album with it — falls flat.
