JUSTIN HERBERT
Banned
this was ok. may never listen again but im a boldy fan so ill look out for what's next.
Albums Boldy James x Real Bad Man - Killing Nothing (Discussion Thread)
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TheDarceKnight
Veteran
I don't really know who RBM is either. Apparently it's a producer group of multiple people
l'm enjoying the listen
i'd say outta Boldy last 3 releases i'd go Super Tecmo > this > Bo jackson
i'd say outta Boldy last 3 releases i'd go Super Tecmo > this > Bo jackson
GreenGhxst
Veteran
Instead of dark, I think warm is a better term
I prefer boldy on warmer beats
I prefer boldy on warmer beats
CoolinInTheCut
Superstar
Slightly weaker than Bo Jackson and Super Tecmo Bo but still good
areohbee824
Superstar
Pretty good drop actually, like it a little better then their first collab, both were good
this was dope, like it alot more than the first one
KingsOfKings
❄️ 𝟐𝟐𝟕, 𝖂𝖍𝖊𝖗𝖊 𝖜𝖊 𝕬𝖙 𝖂𝖎𝖙𝖍 𝕴𝖙! ❄️
Killing Nothing begins with the track "Water Under the Bridge", which introduces the listener to the album with a spooky and sinister 20 second intro with creepy touches of piano, a perfect way to prepare the listener for the tone of the rest of the album. The song is very sinister overall, with Boldy entering the song delivering menacing lines over powerful drums and the same eerie piano line:
The tempo, as well as Boldy’s rapping cadence, is much quicker on the second track of the album, "All the Way Out''. There is a groovy bass line that acts as the lead melody of the song and provides Boldy with the perfect backdrop to continue talking about guns, drugs, jewelry, and money. Despite the overall braggadocious tone of his rapping on this song, he does begin it with the lines:
The following track, "Hundred Ninety Bands", features dark, intense, and dramatic production from Real Bad Man, which is a great fit for Boldy’s delivery like much of the production on Killing Nothing. Given the production, it is only fitting that Boldy raps one of the most vicious and memorable lines of the album, saying:
"Medellin" is a complete mood change from a production standpoint. The beat is much more upbeat, catchy, and smooth and acts as a breather after a handful of much more sinister tracks. There is a lot of witty wordplay on the track, like the hook where Boldy claims that he and his crew are like the Medillín (the famous cartel led by Pablo Escobar), whereas others are just medellin’. CRIMEAPPLE, a New Jersey rapper of Colombian descent, takes advantage of his bilingualism to drop bars like:
The entire song is filled with brutal raps about Boldy’s criminal lifestyle, and the hook implies a certain level of nonchalance from Boldy, claiming that his crimes are now just "water under the bridge". This plays into the persona of a cold-blooded killer that Boldy has presented himself as many times over the years.
The tempo, as well as Boldy’s rapping cadence, is much quicker on the second track of the album, "All the Way Out''. There is a groovy bass line that acts as the lead melody of the song and provides Boldy with the perfect backdrop to continue talking about guns, drugs, jewelry, and money. Despite the overall braggadocious tone of his rapping on this song, he does begin it with the lines:
On "Game Time", Real Bad Man returns to the sinister mood found on the first track and much of the album and provides Boldy with dark production that compliments his cold demeanor and monotone delivery perfectly. Boldy James isn’t necessarily known for his hooks, but the chorus on Game Time is one of many great hooks found on Killing Nothing and is accentuated by a chaotic warping synth sound. The hook is a reference to legendary hip hop album Only Built 4 Cuban Linx, with Boldy saying he wears a Cuban link chain while cooking crack, like Raekwon. Boldy once again manages to fit in some vulnerability amongst braggadocio saying:
The first line makes reference to Boldy’s mother not taking care of him enough and even wishing she had aborted him, something Boldy James covers in more depth on "Mommy Dearest (a eulogy)". The second line presents the tragic reality that many only get involved with drug trafficking as they feel they have no other option to succeed due to growing up in very difficult living conditions.
The following track, "Hundred Ninety Bands", features dark, intense, and dramatic production from Real Bad Man, which is a great fit for Boldy’s delivery like much of the production on Killing Nothing. Given the production, it is only fitting that Boldy raps one of the most vicious and memorable lines of the album, saying:
Throughout the second verse of the song, Boldy talks about various friends he’s lost to the streets over the years. The verse provides context to Boldy’s persona, showing just how dangerous and traumatic the streets of Detroit can be. Experiencing so much premature death takes an enormous psychological toll on an individual, which people like Boldy often cope with using drugs, something heavily implied on his track "Power Nap".
"Medellin" is a complete mood change from a production standpoint. The beat is much more upbeat, catchy, and smooth and acts as a breather after a handful of much more sinister tracks. There is a lot of witty wordplay on the track, like the hook where Boldy claims that he and his crew are like the Medillín (the famous cartel led by Pablo Escobar), whereas others are just medellin’. CRIMEAPPLE, a New Jersey rapper of Colombian descent, takes advantage of his bilingualism to drop bars like:
Boldy James and Real Bad Man get right back into the dark mood of the rest of the album on "Cash Transactions". The main melody of the song has a very ominous feel to it, and the sparingly used orchestral vocal sample enhances that atmosphere. On the hook, which is arguably the best of the album, Boldy says:
Knowledge The Pirate, a rapper most known for his collaborations with New York underground legend Roc Marciano, delivers a strong feature with some clever wordplay like:
"Open Door" acts as the posse cut of the album with two other Griselda members, Rome Streetz and Stove God Cook$, featuring on the track. Every rapper pulls their weight, but especially Rome Streetz, whose flows and rhyme schemes are as smooth as butter on the track. Nonetheless, Stove God Cook$ delivers one of the most memorable and funny lines of the album, saying:
Just make sure you winnin’ when the game end
All my bytches love the stove, not Raymond
It’s a clever double entendre, as it can be interpreted as him saying that all his women love him and\or that they love cooking crack for him. It is a pleasure to hear that three of Griselda’s newest signees have such good chemistry and one can only hope they continue to make great music together.
Much like "Medellin", "Ain’t No Bon Jovi" comes with a different style of production to offer some variation to the otherwise dark and ominous production style of the album. The upbeat production style provides the perfect backdrop for Boldy to flow like butter and deliver some clever bars like:
Had a phone full of fiends 'fore I had fans
Had plans on having scratch, let her stack bands
Lost Brody on the set, I feel like Pacman
See straight through these p*ssy n****s like a CAT scan
"Bo Jack (Miller Light)" is the most unique song on the album in that it has a very somber and emotionally touching instrumental unlike any other song. The melancholic piano sample acting as the main melody coupled with the touches of saxophone come together perfectly to create an atmosphere for Boldy to rap a little bit more personally with bars like:
Be on the East like I'm Dave, raising my niece
Because her daddy up state caged in the clink
Did the best I can just to keep them J's on her feet
I heard my youngin cut his dreads, ain't been home in weeks
He toss and turnin' in his bed, can't go to sleep
The hook is another strong point of this song. It is mostly handled by an artist I could not find any information about but his deep voice and expressive style fit perfectly over the instrumental to deliver one of the best choruses on the album.
On "Sig Sauer" Boldy changes up his flow to one that feels more catchy and accessible. The beat is composed of a haunting acoustic string sample and very present drums that lean a bit more trappy than the drum patterns on the rest of the album, which compliments Boldy’s catchy flow well. The song is closed out with an electric guitar solo that works well as a transition into the next song. The solo is handled by Anthony Cava, a guitarist who was once part of the indie electronic trio Pollyn with the creative director of Real Bad Man, Adam Weissman.
The production on "5 Mississippi" is relatively similar to the production on "Sig Sauer" in that it is mainly composed of a creepy acoustic string sample and drums that are mixed to be a very noticeable part of the beat. There is also a subtle vocal sample throughout the song that adds to the spookiness of the track. On the hook of the song, Boldy shows his disdain for snitches, saying:
Wish you'd seen the look in his eyes when he saw my face
Knowing that I know what's going on, that's what you call a snake
I gotta thank God for keep cuttin' me all these breaks
On my last strike, ain't even got another law to break
Heard they caught him with the bag and he talked to Jake
Boldy flows smoothly over the instrumental, talking about selling drugs with braggadocio while playing into his malicious persona with lines such as:
Demon child, lot of bad habits and some evil traits
The track exemplifies why Real Bad Man’s ominous production on the album is a perfect fit for Boldy and his cold menacing delivery.
On the penultimate track, "Seeing Visions", Boldly raps with his most monotone and soft delivery of the album. It seems intentional given the hook is about getting high while the lyrics discuss his nefarious lifestyle, perhaps as a way of saying that he uses drugs to cope with the trauma he has experienced over the years. Boldy’s rapping fits well over the instrumental, which has an eerie feel to it and yet still feels somewhat soulful, especially because of the vocal sample throughout the song.
Boldy and Real Bad Man finish the album strongly with the track "Killing Nothing". It starts with a short skit of Boldy preparing to execute a drive-by shooting against someone who is surely a gang rival, something which is later referenced in the hook of the song. The instrumental is mainly composed of a fast-paced menacing guitar melody, over which Boldy once again shows his sinister side with lines like:
I'm the one killed your older brother, I'm who shot dawg
And if I didn't, I'm the one who sent n****s to rob y'all
The track encapsulates the essence of the album perfectly and is an excellent closer to a great album.
Killing Nothing is Boldy James and Real Bad Man’s second collaborative album and it shows that they’ve learned how to get the best out of each other when making music together. While their first collab album, Real Bad Boldy was a strong album with great production, rapping, and features, their chemistry is unmatched on Killing Nothing, which makes for a very enjoyable listen. With its sinister tone and brutal lyricism, the album seems to be a direct descendant of several gangsta rap classics like Mobb Deep’s Hell On Earth or Big L’s Lifestylez Ov Da Poor & Dangerous. On Killing Nothing, Boldy James shows that he is one of the most exciting rappers in the Griselda collective and that despite his age, he is determined to keep putting out high-quality underground hip-hop time and time again.
All my bytches love the stove, not Raymond
It’s a clever double entendre, as it can be interpreted as him saying that all his women love him and\or that they love cooking crack for him. It is a pleasure to hear that three of Griselda’s newest signees have such good chemistry and one can only hope they continue to make great music together.
Much like "Medellin", "Ain’t No Bon Jovi" comes with a different style of production to offer some variation to the otherwise dark and ominous production style of the album. The upbeat production style provides the perfect backdrop for Boldy to flow like butter and deliver some clever bars like:
Had a phone full of fiends 'fore I had fans
Had plans on having scratch, let her stack bands
Lost Brody on the set, I feel like Pacman
See straight through these p*ssy n****s like a CAT scan
"Bo Jack (Miller Light)" is the most unique song on the album in that it has a very somber and emotionally touching instrumental unlike any other song. The melancholic piano sample acting as the main melody coupled with the touches of saxophone come together perfectly to create an atmosphere for Boldy to rap a little bit more personally with bars like:
Be on the East like I'm Dave, raising my niece
Because her daddy up state caged in the clink
Did the best I can just to keep them J's on her feet
I heard my youngin cut his dreads, ain't been home in weeks
He toss and turnin' in his bed, can't go to sleep
The hook is another strong point of this song. It is mostly handled by an artist I could not find any information about but his deep voice and expressive style fit perfectly over the instrumental to deliver one of the best choruses on the album.
On "Sig Sauer" Boldy changes up his flow to one that feels more catchy and accessible. The beat is composed of a haunting acoustic string sample and very present drums that lean a bit more trappy than the drum patterns on the rest of the album, which compliments Boldy’s catchy flow well. The song is closed out with an electric guitar solo that works well as a transition into the next song. The solo is handled by Anthony Cava, a guitarist who was once part of the indie electronic trio Pollyn with the creative director of Real Bad Man, Adam Weissman.
The production on "5 Mississippi" is relatively similar to the production on "Sig Sauer" in that it is mainly composed of a creepy acoustic string sample and drums that are mixed to be a very noticeable part of the beat. There is also a subtle vocal sample throughout the song that adds to the spookiness of the track. On the hook of the song, Boldy shows his disdain for snitches, saying:
Wish you'd seen the look in his eyes when he saw my face
Knowing that I know what's going on, that's what you call a snake
I gotta thank God for keep cuttin' me all these breaks
On my last strike, ain't even got another law to break
Heard they caught him with the bag and he talked to Jake
Boldy flows smoothly over the instrumental, talking about selling drugs with braggadocio while playing into his malicious persona with lines such as:
Demon child, lot of bad habits and some evil traits
The track exemplifies why Real Bad Man’s ominous production on the album is a perfect fit for Boldy and his cold menacing delivery.
On the penultimate track, "Seeing Visions", Boldly raps with his most monotone and soft delivery of the album. It seems intentional given the hook is about getting high while the lyrics discuss his nefarious lifestyle, perhaps as a way of saying that he uses drugs to cope with the trauma he has experienced over the years. Boldy’s rapping fits well over the instrumental, which has an eerie feel to it and yet still feels somewhat soulful, especially because of the vocal sample throughout the song.
Boldy and Real Bad Man finish the album strongly with the track "Killing Nothing". It starts with a short skit of Boldy preparing to execute a drive-by shooting against someone who is surely a gang rival, something which is later referenced in the hook of the song. The instrumental is mainly composed of a fast-paced menacing guitar melody, over which Boldy once again shows his sinister side with lines like:
I'm the one killed your older brother, I'm who shot dawg
And if I didn't, I'm the one who sent n****s to rob y'all
The track encapsulates the essence of the album perfectly and is an excellent closer to a great album.
Killing Nothing is Boldy James and Real Bad Man’s second collaborative album and it shows that they’ve learned how to get the best out of each other when making music together. While their first collab album, Real Bad Boldy was a strong album with great production, rapping, and features, their chemistry is unmatched on Killing Nothing, which makes for a very enjoyable listen. With its sinister tone and brutal lyricism, the album seems to be a direct descendant of several gangsta rap classics like Mobb Deep’s Hell On Earth or Big L’s Lifestylez Ov Da Poor & Dangerous. On Killing Nothing, Boldy James shows that he is one of the most exciting rappers in the Griselda collective and that despite his age, he is determined to keep putting out high-quality underground hip-hop time and time again.
