Gang Signs & Prayers by Stormzy – Impressions, Thoughts, Appreciation

It is an album that had an incredible amount of hype well before the idea of the album was probably even conceptualised. From when ‘Know Me From’ dropped, it was only a matter of time. What is purely evident is the love that has been shown to Stormzy from then till now, industry and fans alike. His debut album, Gang Signs & Prayers is finally here.

If there’s anything I appreciate it is that it doesn’t have a ‘filler’ type of feel, even though it has a few interludes, each song is deserving. c5xhreiw8aqnuttI am definitely a fan of ‘Big for Your Boots’ which I’d recommend for anyone’s gym playlist. ‘Velvet’ is ultra-smooth and
reminds me of that 2000’s British R&B vibes. There’s just something about ‘Cigarettes and Cush’, combining the smooth piano and sax sounds, Lily Allen and Kehlani’s amazing vocals and heartfelt content that makes it a soulful ‘love ballad’ on the album. ‘Blinded By Your Grace pt.2’ is the definition of uplifting and inspirational. The choir and guitar shredding is pure euphoria. His faith in God comes through emphatically. Can’t hate it.

It is an album that low-key pays its homage. Anyone who is clued up enough to catch the “Where’s Carlos” reference on ‘Bad Boys’ and know the origin, kudos to you. The Crazy Titch interlude. Salutes to the legendary “Lady of Soul”, Ms. Jenny Francis. Having Wretch 32 himself on an interlude is paying homage to one of the greatest from this scene.

In a sense, it is a very British album. It doesn’t try to be what it isn’t sonically. You can tell it is not a Grime album by definition but definitely a Grime influenced album, from the use of instruments & fast tempo on certain tracks as well as the use of ‘samples’. The roster of English talent, the likes of Ghetts, MNEK, J Hus, Nao and Raleigh Ritchie is beautiful to see.

What this album has is clear themes that run throughout its entirety. Gang Signs & Prayers is an exploration… a presentation of his urban upbringing and the rugged exterior that it has produced (‘Return of the Rucksack’, ‘Mr Skeng’ etc.) and at the same time delving in-depth into his vulnerability and his inner most thoughts and emotions (‘Lay Me Bare’, ‘100 Bags’ etc.). It is a metaphor for the life he has lived.c5wkyukwyaagihs

I feel the album has GREATLY lived up to its expectations. It’s not an album on lyrical wizardry; that’s evidently not his style. Nonetheless his storytelling ability is definitive enough for listeners to hear and feel the emotion he lays in every song, whether it be pain, rage, pleasure, love or gratitude. A balance of the brash and the pensive.  Not eloquence but rather potency with his vocals and flow and beautiful sonics. This may possibly go down as a classic.
24th of February was officially National Stormzy Day and I definitely know why.

The evolution of the Black British Sound

The MOBOs awards have come and gone, meaning one thing…Award season has finally kicked off. I feel this is the perfect time to reflect on what I call the ‘Black Sound’. Considering how interesting it is a time for music, we should go back to understand where we’re headed. We have come a long way from our roots.

I’m a 90’s baby, and although I’m knowledgeable more on the 2000’s, I still look back in the archives and appreciate the music that made my era iconic. In order to fully appreciate what was then and how it is now, we should go back a little more.

Black music, I feel, in the UK really came alive in the 80’s. Soul was all the talk. We heralded the artistry of Sade as she carried out her dominance. Her 1984 debut album went to #2 in the UK, won her a BRIT award for Best Album and her subsequent tour was the beginning of her international acclaim. Tim Westwood had cracked mainstream radio and was determined to broadcast the best in ‘urban music’ to the masses. Soul II Soul had massive breakthrough R&B hits “Keep on Movin'” and “Back to Life” in 1989. Considered to have opened the door to the mainstream for black British R&B and Soul artists. They got nominated for Soul Train awards, BRIT awards and even won a couple Grammys.

The 90’s were a strong continuation on the foundation of the 80’s. Omar, Sade and Soul II Soul’s careers really took off. Not only that but Black music within the UK is finally getting mainstream appeal. R&B took centre stage. We could see an array of Black artists being awarded BRIT awards for their quality art including Seal and Gabrielle doing the double in ’94 and ’97. Kanya King had launched the MOBO Awards in 1996 which grew to be the premier music award show which celebrated those who created Black. It shone a light on the up-coming like Shola Ama and recognised the hard work of big names like Beverly Knight.

The turn of the century I feel is where Rap rose in prominence. Hail Wiley, Dizzee Rascal and Lethal Bizzle in being some of the frontrunners in the inception of Grime music. The tenacity of the art form attracted the youth, the forgotten and the whole underground. Mainstream media attention followed and the 2002 and 2003 Mercury Prizes for Ms Dynamite and Dizzee Rascal meant people were now standing up. Let’s not forget R&B now. Lemar? Craig David? Estelle? Our artists were cracking the mainstream and making waves in the States. If 22 Brit award and 6 Grammy award nominations are nothing to go by on how greatly R&B had developed, then I don’t know what will.

So here we are, at the end of the sixth year into the decade. British music has taken a move completely against the status quo. The rise of the independents has shown the mass that you don’t need a major label to ‘make noise’. Skepta followed in Dizzee’s footsteps 13 years later in winning a Mercury Prize. Krept & Konan cracked the top 20 charts with the mixtape ‘Young Kingz’ and Stormzy peaked at #8 with his single ‘Shut Up’. All of this was done with no major label backing. Couple this with Grime once again returning to the forefront and subsequently the new style of ‘Trap’ evolving from the underground. The likes of Section Boyz, 67 and Harlem Spartans have truly captured the minds of the youth in an N.W.A-esque fashion. Rap has truly stolen the show.

Now this, this is the sound of Black Britain.