Shady Records has been making moves under Interscope Records for the latter part of this decade. Just after upstate New York rappers Conway and Westside Gunn signed in 2017, Compton’s Boogie joined the squad.

Also known as Anthony Dixson, Boogie picked up steam on the internet with his first mixtape, “Thirst 48,” in 2014, and even more so via “Thirst 48 Pt. II,” released two years later. Accompanied by incredible music videos, “Everythings for Sale” finds Dixson reflecting honestly about his mistakes, loving his son and finding inner peace.

On the album, nonfictional motifs include Dixson’s failed relationships with strong women. Track two — “Silent Ride” — puts listeners in the backseat, as if we’re eavesdropping on him and his girlfriend. His brutal honesty in the song is commendable, as he tries to repair a failing relationship in which he’s the problem: “I love to lie… I know I’m wrong but let me slide. If I ain’t right before I rise tell the world I’m dead inside.” Being transparent with an audience takes courage, and I can’t imagine pouring your heart out to nearly two million people monthly on Spotify alone.

Songs that listeners vibe to while also telling stories are a rarity nowadays, so I was pleased after realizing this tune sets an honest tone for the album. “Silent Ride” and “Self Destruction,” which solely features Dixson, were his singles of choice. But when the track list was released three days prior to the album, fans began to anticipate some all-star features.

East Atlanta native J.I.D — fresh off his album “DiCaprio 2” and a night performing in Syracuse — hops on the flaming hot track “Soho.” This was the song I most anticipated due to J.I.D’s feature, and there’s no question that my expectations were exceeded: the beat slaps and the emcees throw in intricate lyrics that require a second listen to catch.

Dixson’s mentor Eminem delivers on a long verse in the track “Rainy Days.” The style doesn’t reflect classic Slim Shady, but more so what modern Eminem albums sound like: an artist two decades in, coming up with avant-garde rhyme schemes and interesting subject matter.

Eminem cleverly notes, “Marshall is dead in the water, but not that I care. Dre said, ‘rock the boat’ and the Doc is my pier.” While the old Slim Shady shocked fans with violent lyrics, a matured version of Eminem doesn’t need controversy to be just as clever. “Rainy Days” is a classic instance of rappers spraying their lyrical skills into our ears, each going for about two minutes straight — an impressive feat considering most come and go in 16 lines.

6lack, another Atlanta feature, appears on “Skydive II.” The rappers make magic with minimal instrumentation, comprised of just an acoustic guitar and rim shots from a drum. A precious string section enters during the second half of the hook and then returns to a muffled state. Listeners can get emotionally invested in this song, as both artists open up to the audience about vulnerabilities they face in the mirror.

The chorus begs for more help and time to discover their purpose in life, as Boogie croons, “Mother of my skies, why you always gotta intervene? Father of my time, don’t you got some more to give to me?” It’s the type of track that hits you where it hurts, yet affirms that you’re not alone in life’s obstacles.

Even on songs without features, Dixson maintains engagement. While interludes on other albums are placeholders, Dixson’s interlude, “LOLSMH” can stand on its own. It’s an intimate look into his diary, as if we’re a fly on the wall during a therapy session. Time and time again, his personal life and privacy is sacrificed for a fully transparent album.

Even with masterful lyricism, an honest album is nothing without brilliant production. His longtime producer, Keyel, has a hand on nine of the 12 songs. When an artist and producer have a genuine connection while making a record, their relationship turns the songs into pieces of art.

These relationships bring me back to the good old days: Outkast with Organized Noize, MC Guru and DJ Premier, Snoop and Dr. Dre, among others. The beats on “Everythings for Sale” come across as simple, but a closer listen will tell you to not underestimate their punch.

Going into this album, the last thing I expected was a deep and personal life story. It’s so real, in fact, that sometimes I feel invasive listening to Dixson empty his emotions into his verses. I have to remind myself that I don’t know the man personally — I’m simply a fan who’s all ears.

Published on February 13, 2019 at 11:17 am