Well$ — MTSYD: The Revenge Of The African Booty Scratcher (Album Review)

Thanks to technology’s advances, any aspiring emcee can begin to build their brand online and see the fruits of their labor nearly overnight. Bombarded with the good, bad and in between, tastemakers and commentators find it increasingly difficult to keep up with each new sensation to spring up weekly, if not daily. Well$ is yet another pick from the excessive number of striving acts contributing to what has become Hip Hop’s exhausting struggle: distinguishing who’s taking up needless space from those making progressive moves.

Though the cliché says that the cream rises to the top and everyone has an equal chance of recognition, Well$ has surfaced practically out of thin air. Creating music from the unique position of intercontinental heritage, after opting to seriously pursue his craft just a few years ago, Well$ has put together his full length debut MTSYD: The Revenge Of The African Booty Scratcher. The acronym stems from his goal of breaking ground and figuring out how to turn doubters into figurative fellatio givers.

MTSYD’s title track is one of its few high points, where a prideful Well$ addresses the misconceptions commonly associated with African culture. Taking the time to educate here, there’s a stark irony in him spending the most of the tape imitating stereotypes of what modern American rappers are expected to sound like. Though his flows are mainly decent and he raps with conviction, Well$ suffers from poor punchlines and an almost complete lack of original ideas. The otherwise favorable “Savoir-Faire” pays homage to Drake’s “The Motto” as he chants “Real nigga, wassup”, lazily borrowing from a song still in rotation for many. Reaching back a bit further, he channels Rick Ross’ “Hustlin’” on “GastonTwo09nine” rehashing the phrase “Whip It, whip it, real good”. This blatant sampling of popular contemporaries does little to make a strong case for Well$, if in fact he seeks to be recognized as an innovator.

MTSYD’s foundation rests on a listener taking interest in the self-absorbed philosophies, fantasies, and worldview of a 19 year old who hasn’t seemed to experience much. Dedicating a whole verse to Twitter’s hold on our lives, “Cercle Vicieux (Vicious Circle)” sheds light on the folly of living through social media, somehow tying that to the plight of anyone stuck with a ghetto mentality. A better attempt at storytelling, “Lil Tommy” is a tale of violent misconduct that requires extra attention to grasp, given Well$’ vocal inflections which are an obstacle to overcome. Making sure to include the “sunglasses and Advil” catchphrase, the obligatory (and overproduced)“Black Swan” panders to the recent trends of EDM and screwed vocal effects, detailing a woman who has strayed from a righteous path. Basically replicating this same idea on “Major Paine (Daddy’s Little Girl)”, Well$ sorely lacks ingenuity to a fault.

Considering Well$ stems from the cultural hotbed of North Carolina, MTSYD hardly reflects this aside from closing the project sampling a Phonte rant about lack of hometown support. A far cry from Blitz The Ambassador who unabashedly celebrates their African lineage, he more so aligns with So Far Gone’s definitive blueprint of questioning the fast life while living in it. On “Holy $ins” he says “My generation grew up on (Wiz Khalifa’s) Kush & Orange Juice”, perhaps explaining his obvious immersion into today’s Rap scene. With other evident influences on his sound including TDE & A$AP Mob, if Well$ is to be taken seriously he’ll need to separate himself from every other SXSW opener mimicking today’s winners.