Beyond artists like Pusha T & Q-Tip, who had already established their careers prior to signing to Kanye West’s G.O.O.D. Music imprint, it’s sometimes hard to understand why West signs who he signs. For as focused as he is at fine-tuning each-and-every aspect of each-and-every album he has a hand in, you wouldn’t think seemingly one-trick ponies like Big Sean or Kid Cudi would be in his wheelhouse.
On a lot of levels, Big Sean seems like a rapper who would be more at home among some of the lesser-Young Money artists. While he has a knack for putting out catchy singles and is likely the most-featured guest artist this side of 2 Chainz, he’s never really been the type of rapper you would think could hold your attention for a full-length album. However, considering Big Sean first made contact with West in 2005 and was subsequently signed in 2007 after being brought along the road during the recording of Graduation (yes, you read correctly: Big Sean has been on G.O.O.D. since “Stronger” and before Kid Cudi), it’s clear West saw untapped potential in him.
Unlike Cudder, who established his signature sound and quickly stumbled into semi-obscurity through awful side-projects, Sean seems to be only recently figuring out how to best utilize his style in constructing an album. Though he’s been in the mainstream for nearly five years at this point, we have to remember that he’s still young: at 26-years old, Sean is around the same age that Jay Z, Eminem, and Yeezy himself were when they put out their debut albums (big ups to Nas for creating the quintessential rap album before he was old enough to vote, but not everyone crafts their Illmatic at age 17).
While the general subject matter is fairly similar to that of Big Sean’s previous two albums (lacking fame and attention from women; gaining aforementioned fame and attention from women), Dark Sky Paradise feels like his first legitimate attempt at constructing a singular piece of work, rather than just a collection of songs. Even the bonus tracks fit the overall mood and aesthetic of the album—“Platinum and Wood” ends with the same quote that the album begins with, (“Sean, it’s good to be home, isn’t it?”) implying they’re possibly intended to be a sort of epilogue. As questionable of a title as Dark Sky Paradise might be (let’s not forget that Kanye West’s magnum opus is called My Beautiful Dark Twisted Fantasy), the name really does ring true to the album’s atmosphere. For as much fun as Sean is having throughout, it’s evident that he’s been wrestling with a lot of stress. While his demons of fame might not be of the same caliber as Eminem or Kanye or even Drake, Dark Sky Paradise marks the first time in Big Sean’s discography where he’s successful in making you give a damn about what he has to say. Perhaps the most poignant description of Sean’s state of mind throughout the album comes early on in the record, in the opening lines of “Blessed”:
“Fuck a vacay I feel better at work”
Regardless of what you think of Big Sean’s music, he’s an undeniably hard worker, which is likely something that West respected about him in the first place. It’s easy to tell that Sean put a lot of thought into every facet of Dark Sky Paradise, including improving upon aspects that he usually isn’t reveled for, such as his technical ability. From the pyrotechnics of the second verse of “Paradise” to his best E-40 imitation on “I Don’t Fuck With You,” he demonstrates a previously-absent versatility in the flow department. Considering Sean’s track record of dropping verses that sound like they were recorded over the wrong instrumental, his success in this regard is a welcomed addition.
Dark Sky Paradise is feature-heavy, but it’s much more Sir Lucious Left Foot than it is Jesus Piece. That is, for the most part, the featured guests serve an actual purpose in accentuating the song and crafting the album’s overall sound, rather than just taking up space and putting the quality of the album on other people’s shoulders. Features seem to be picked carefully, likely in an effort to keep the album from becoming too bloated. Considering how bogged down with filler Hall of Fame was, it seems Sean went to great lengths in keeping the album as succinct as possible.
Unfortunately, a few misfires keep the record from reaching its full potential. The Chris Brown & Ty Dolla $ign-assisted “Play No Games” (why anyone continues to work with a human as deplorable as Chris Brown remains a mystery) serves as an extraneous epilogue to “I Don’t Fuck With You,” where Sean takes notes from Drake and raps about how he always responds to his girl’s texts. The juxtaposition with “I Don’t Fuck With You” might have worked if the song was any good, but as it stands, its only purpose is to interrupt the flow of the mostly great four track run that opens the album. In a similar fashion, “Win Some, Lose Some” unnecessarily shoves the album’s thesis in the listener’s face, which is especially insulting considering the album’s narrow subject matter.
Despite two mediocre songs crippling the flow of an otherwise enjoyable album, Dark Sky Paradise is Big Sean’s most competent and concise release to date. Though it may not be remembered as a classic, here’s to hoping it marks a turning point for the better in his career. If the amount of sheer joy and confidence that radiates throughout the album’s outro is any indication, there’s a good chance that Sean will continue to impress.