Maybach Music Group’s Stalley has maintained a humble following even before joining Rick Ross’ top-heavy conglomerate. The Massillon, Ohio MC has since appeared on both MMG compilation albums, ‘Self-Made Vol. 1’ and ‘Self-Made Vol. 2’, and released his own ‘Lincoln Way Nights’ and ‘Savage Journey To The American Dream’ mixtapes in 2011 and 2012, respectively. Stalley’s concept for ‘Honest Cowboy’ seems consistent with his sincere means as a righteous rebel with a pertinent cause. An affinity for sneakers and old Chevys reflect in Stalley’s classic vibe and often-atypical poetic structure. ‘Honest Cowboy’ projects the strong points of the MC’s appeal. “Spaceships and Woodgrain” monologue progresses into a jazzy instrumental for which he classifies as, “Intelligent drunk music”.
Acknowledging his background with a forthright modesty, Stalley puts his hard times in rhymes on “Gettin’ By”, reminiscing on his struggles and uplifting those looking to relieve similarly stressful circumstances. He remains personally intricate on “Raise Your Weapon”; religious insecurities, weak economies, and lying politicians provoke the lyrical ploy to instigate hope, “This generation is in a dying need/Of a voice like me/Someone embody the glory/I guess that’s me”. Attempting to build a bridge between his stature and his roots, his “true warrior music” attributed to “Long Way Down” features vocalist Crystal Torres and a series of cultural calamities, “Black mask, black gloves, a hood terrorist/Intelligent psychopaths the world scared of us/The skin of a million slaves ain’t no tearing us”.
Talking spaceships and cruising through velvety bass lines on “Feel The Bass”, a candid state of mind based on Stalley’s cordial yet adamant hustle, a more soothing listen puts the MC in a desolate frame, “I like to be alone when I ride”. The same could be said for “The Highest”, another cut with Crystal Torres, conceptually geared towards his personalization of and consummate relationship with reefer, “She seems to be all that I think about/All I fiend for, all I’m seeking out”. While he makes his metaphorical relationship known, his smooth subtlety devalues the corrupt image. “Cup Inside A Cup”, as Stalley describes, “Pimpin’ at its finest”; producer Black Diamond samples “November 18th” from Drake’s 2009 ‘So Far Gone’ installment, and Stalley responds with slick illustrations of daily operations and those who lie within and outside of his circle.
“Swangin’” has become the latent signature term for Stalley’s following. Producer Block Beattaz created the original version with Alabama rap duo G-Side back in 2009 for their ‘Starshipz & Rocketz’ album; Stalley flows brief, fitting segments with “cherry red paint” car talk, concluded by a south side Scarface cameo. Rick Ross makes his presence felt on the thumping, organ-based “Samson”, complimenting Stalley’s own vehement hook with a suggestion that his money and his beard grows simultaneously. Stalley’s most hawkish attack is “NineteenEighty7”, produced by the hip-hop/jazz virtuoso Terrace Martin, and featuring a hook from TDE’s Schoolboy Q; Stalley preaches, “A hustler for these C notes tucked drugs in my pea coat/Dippin’ from the RICO watching people through the peephole/A wolf in sheep’s clothes hear no evil when I speak, no/Word to dangerous minds spend no time with a weak soul, spiritual and lethal”.
‘Honest Cowboy’s first release and hidden track, “A-Wax”, is an animated gem for car rides with the windows down, rounding out a 42-minute embellishment of Stalley’s raw passion and old soul. A refreshing constant with Stalley is the desire to connect and resonate his message and sound. As a hopeful precursor to a forthcoming album, this 11-song minimal tape could best advocate for the most qualified presence out of Massillon, Ohio.
Wrritten By: Martin S – @marley_mcfly
