Lupe Fiasco Albums

Lupe Fiasco’s career is a string of near-misses. What makes Drogas Wave especially frustrating is the way you can squint and see the shape of his possible masterpiece inside. Back to home. Lupe Fiasco is responsible for making two of the better concept albums of the last 20 years, 2007’s The Cool and 2015’s Tetsuo & Youth. He’s working on another one.

Wasalu Jaco is a man of concern. Concern for his fellow persons of colour and norming white supremacy, concern for the youth and their (mis)education, and concern for his place amongst rap's elite.

As Lupe Fiasco, Jaco's artisanship has routinely divided opinion. His dutiful F&F following hail him as nothing less than rap's renaissance man, while more even-handed heads point to an enduring conflict in his musical mentation, clouding his genius. Few, however, will gainsay his quality as a wordsmith.

When he took to Twitter in January of this year - in one of his many paroxysms of vexation - to launch into an impromptu critique of Kendrick Lamar's lyrical ability, or lack thereof, Lupe was ostensibly venting his frustrations, not with Lamar, but his own omission from the widely accepted rarefied air of rap. Merely weeks before Lamar released his universally acclaimed To Pimp a Butterfly, Fiasco had unveiled arguably his greatest work, Tetsuo & Youth. Released upon the insistence of hacker group Anonymous, who had threatened his then label Atlantic into giving it a release date, Tetsuo was Lupe's magnum opus, a masterpiece maturing on every listen - flowering in ' Butterfly's shadow.

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What should have crowned Lupe Fiasco's inauguration into hip-hop's haute monde, was instead a mattress for public slumber. Perhaps it is inevitable that Fiasco, who fearlessly declared Obama to be the world's biggest terrorist for his drone campaign and unpopularly endorsed Islam becoming the world's religion, will always remain distanced from the plaudits of the dominant culture he so dauntlessly opposes, yet ambivalently seeks respect from.

2017's follow up to Tetsuo & Youth, Drogas Light, was promoted as a prequel in a thematic trilogy of albums, while concurrently adding that it was full of 'songs from the vaults'. The result was an apathetic assortment of above-average trap and evident castoff's from T&Y, the only consistent theme being his return to inconsistency. It's successor, Drogas Wave was proclaimed by Fiasco to be a concept album, detailing the lives of the LongChains, a fictional group of Middle Passage slaves who survived drowning in the ocean and dedicated their lives to sinking slave ships from under the water.

Ge antique electric fans value. Launching impressively into Spanish on the snappy opener 'Drogas', Lupe offers a brooding examination of the black condition in America, its bloody history and enduring legacy. Over a forbidding bassline on 'Manilla' (a form of currency used during the slave trade), Lupe relates modern-day materialism to the rapacity that occasioned the slave trade 'you can accomplish anything if you can survive blackness'. While his message is invariably consternation for his community and those less fortunate than himself, his polymathic wordplay is habitually exorbitant, requiring multiple listens to unpack. Wrapped in overwrought rhyme and seal packed in metaphor for good measure, it's at times hard to construe if Lupe's rhymes are assembled for edification, or are merely self-indulgent soliloquies.