The New Skool’s National Treasure: Dizzy Wright Shines Brilliantly with ‘The Golden Age 2’

I attempted to give it about two weeks and some change for the smoke to clear, but it could not be helped one bit. The fire is omnipresent in all of its poetic justice with Dizzy Wright’s newest album, The Golden Age 2.

I haddddd to do it folks. I could not have passed on this opportunity to give my take on it. For about four years now, as wild as this may seem, Dizzy Wright has been in my top five for the New Skool Rapper generation (2010-Present). After hearing his quiet legacy and the review of this tape, maybe you’ll be a believer like me.

In order to review this album, I would think it would be appropriate to talk about the build-up leading to it anticipated release. So we’re going to have to go back. Like way back.

It is the year 2013, and in the words of Goldlink, “Got damn, what a time, what a year.” Dizzy Wright’s budding into the mainstream rap light to superstardom status was finally hitting its mark at this time. After a clever and notable slew of quality mixtapes beforehand, Dizzy Wright landed the 10th Spot on XXL Freshman Class of 2013 (The best XXL Freshman Class to date, debate your baby mother) with the People’s Champ award. Even with his unconventional flow, Dizzy Wright rhymed so tight that he could knock the wings off a flea as he murdered the XXL Cypher with pre-album Logic and Angel Haze (a cypher that still gives me chills). Capitalizing on his string of success, Dizzy formed a brotherhood with fellow XXL Freshman Logic, evening leading Dizzy Wright to give one of the coldest feature rap verses I have ever heard in my life on the song “Young Jedi” off of Logic’s Welcome to Forever mixtape. By this time, Dizzy Wright had become Funk Volume’s prodigy even amongst the rumored jealousy of Hopsin. He was an open follower and proud teacher of The Four Agreements by Don Miguel Ruiz. With his authentic poetic flow in the New Skool, Dizzy Wright rivaled the likes of Wale and Kendrick with his unconventional timing, dips and inflections. All in all, he is a highly medicated guru with a mic, a respect for the Old Skool and just good ass rap music to keep it a buck.

Dizzy Wright continued this string with the precursor to today’s review, debuting The Golden Age. The cover graphic, in all of its royalty and majestic quality, set the stage for Dizzy Wright’s lasting legacy in Hip Hop from then on. The execution was without mercy and the most tactical versatility, featuring Irv Da Phenom, DJ Hoppa, 6ix, Swizz, Joey Bada$$, Kid Ink, Honey Cocaine, Jarren Benton, Logic, Kirk Knight, Capo and Wyclef Jean. If you listen to the tape, it is a literal time capsule not just catching the essence of the 90s, but the ruling sounds in the time that it dropped as well as the developing/rawest versions of the all the artists featured then that had made more than a name for themselves since the drop.

An East Coast loyalist to the death of me, The Golden Age not only fully made me unbiased to the wonderful sounds of the New Skool West Coast, but provided the soundtrack to my entire sophomore year of college.  It was “Maintain” feat. Joey Bada$$ that allowed for me to retain my mental health and know that all my long days and even later nights of grinding were worth it. It was “Perspective” feat. Chelle that psychologically hammered in me listen after listen to never to become entangled like other individuals in the allure of the vain, growing leviathan of Instagram and social media at large back in 2013. “Kill Them with Kindness” helped me more than anything to develop the everlasting ability to annihilate my enemies and their malevolent auras at every turn off of character alone. There were many days where I come home from classes walking down the street blasting “Welcome Home” feat. Arima Ederra from my Apple Boombox in my freshest 90s attire as those who stared saluted rather than ridiculed.

No man on this planet could tell me anything as I montaged in the mirror on select Fridays on pay day with the newest designer on and blasting/rapping every cold lyric to “Fashion” feat. Honey Cocaine and Kid Ink. I would have my first taste (well, a couple) of the hoe-phase for that time in college with “B.T.T” guiding my strut and slick words as a new upperclassmen. I remember replaying “Untouchable” feat. Logic and Kirk Knight for days on end wowed at the flawless execution of three brands of high grade New Skool lyricism, amazed at Logic, Kirk Knight’s otherworldly wordplay (I’m still catching new punchlines in 2017) and Dizzy Wright’s extra magnificent finish. I would maintain my mission of changing the world by meditating on many mornings to “World Peace.” Timeless moments were made laid up with my boo thing at the time as I sang the chorus to “Hope You Have a Good Day” to her until she giggled constantly on the way to work/school and texted me throughout the day with the lyrics from the song that were stuck in her head. I blasted “Broddie Bro” feat. Capo, with its blazing and infectious guitars, to ignorant levels on nights out in the city riding with the boys to celebrate breaking away from toxic situationships. “New History” was not only prophetic for me, but for my team around me as it made exactly that and Dizzy Wright’s career in itself became new history. The first installment of The Golden Age meant so much to the life so it would make sense that I, as well as his other fans, would anticipate this highly anticipated follow up.

You can see, comparing the cover of The Golden Age 2 to the cover of The Golden Age on first look, that Dizzy Wright not only pays tribute to his fans, Black love, and parenthood, but growth and the Hip Hop culture itself by showing the main boy in the cover art being the same baby in the cover of The Golden Age. The clever drop on August 11th, a.k.a the birthday of Hip Hop, was nicely planned as well, giving tribute to the culture and its transition to the New Skool in the most classy gesture.

On the first track alone, “Looking Up” feat. Euros, Wright came. Out. SWINGING. The Sammy Davis soul sample with this intro was much appreciated as well as Dizzy showcased growth and mastery of style in his new, more incredible prime. In “Word on the Streetz,” he finally snapped without restraint with great bars, flow and rhyme variation. The indisputable proof of growth continued with “Outrageous” feat. Big K.R.I.T, which contained the modern sound of this time, displayed a clever synthesis. With the single release of this song, XXL was rather shady with its promotion by posting the song with the caption “New K.R.I.T verse!” which sparked a side eye from people who weren’t even die-hard Dizzy Wright fans. Like, didn’t y’all put Dizzy Wright as a whole 2013 XXL Freshman? Regardless, Dizzy Wright showed that his hook game is as hitting as Floyd Money Mayweather himself. The Golden Age 2 clearly perfected Dizzy Wright’s flow as well as gave us the same great chemistry with K.R.I.T as exemplified on Dizzy Wright’s “The Growing Process” album (2015) with “God Bless America”:

“Heard you needed real, come get some/America looking like a sitcom/

They don’t care about a n***a outcome/They really only focus on the income.” – Dizzy Wright

As conscious as he is about the prison industrial complex and the evils of U.S capitalism, Dizzy still suffers from a bit of respectability politics as with some of Kendrick Lamar’s TPAB Lyrics (an article for another time). POWERFUL and snapping verse by K.R.I.T finished off the song nicely.

“FFL (Fuck Fake Love)” focused on Dizzy’s pain, hood dreams, the come up, and his life journey; a vent necessary for those all over experiencing the same in these tumultuous times. “Do the Most” is so melodic, and it’s tear-jerking for someone who has seen his journey firsthand to see how he has grown even stronger, wiser and greater than before.

I don’t know WHO Dizzy is beefing with, but “Fraud” is got damn incredible. The hook is fire and addictive as the beat rocks. (This is how Meek should have defeated Drake, but alas) I honestly had to run that joint back.

“…maybe one day I can get a over-rated check

But I’m just feeling like it’s some things the new legends shouldn’t accept”

He proceeded to snapping more than he has ever has even with his poetic flow. Truly, Dizzy is Las Vegas’ most golden prodigy.

“Make Moves With Me” is reminiscent of the 90s without blatantly biting it off; an example I believe other rappers should take note of. “In Desperate Need” was fine as well, great hook writing and storytelling. “Talk to Me/Don’t Hold Back” is one for the realllll lovers and one of my absolute favorite songs on the tape. I might put it on a playlist for when I’m about…nevermind, let’s focus on the music.

“Big Shots” contained the smoke and mellow anthems Dizzy is known for, but more classy this time around. One of my only negatives about the project, other than the features this time around being a clear indication of whom Dizzy has fell off with and the paths those same artists took as well, was “JOB.” “JOB” was a little too generic and not sounding too original (the beginning flow was reminiscent of “No Flockin’ “ and “Bodak Yellow”). The beat did not do Dizzy justice and the lyricism was lost in the generic natureand messing up the flow of the album. Maybe[?] it will grow on me, however, it wouldn’t be my choice for a single release out of all the other songs, but to each their own.

Dizzy modified his flow to flawless 90s flow for a magnificent laid verse and breezy feeling/hook with “Choosin’.” Punchlines were galore (a rarity considering his style) and even the rare Word Wizard style incorporated throughout. G. Perico’s feature made it sound like a classic West Coast G-Funk record, capturing the purpose of the album. “Caught Slippin” is an incredibly important message to the streets and young rappers trying to make their name in the game. It was an extremely deep and layered track of commentary. For example:

“I know the n***a lost

All the hood lessons

How niggas rather have street credit then good credit”

I’ll let you all meditate on that one yourself.

I think every person ever living person needs to hear “Pet Peeve;” there are some true scriptures in that joint. “Give It to Em Real” was bittersweet because it was what “The Growing Process” (2015) SHOULD have been in terms of mixing in a great sound with great messages and not a severe imbalance of one of the other at times. This song also prompted very deep and invoking conversation.

“The Outro,” the anticipated collaboration with NOWDAZE (previously Irv Da Phenom) went just as amazing as their other collaborations since “The First Agreement EP” (2012). The song was incredibly deep and reminiscent of Nas’ street prophetic nature:

“They criminalize our black movements until they didn’t exist

If this is making you uncomfortable yo I wouldn’t f**k with me either

So yo check it

I get it you want to be savage when s**t is reckless

‘Cause even I respond different when my emotions is infested

Brodie by all means I hear you and I f**k with it

But if you respond with anger with out a goal then they gon’ pop it from the punishment”

The Golden Age 2 was a truly magnificent track putting the recent pricelessness on Dizzy Wright’s notable discography.

A National Treasure of the New Skool; keep shining bright on the Rap Game and Hip Hop Culture with your artistry, Dizzy.

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