Album Review: BLUE LIPS by ScHoolboy Q
ScHoolboy Q bounces back on his sixth studio LP, the first in almost five years, after the disappointing effort of 'CrasH Talk.'
From the streets of South Central LA, ScHoolboy Q emerged with a raw, uncompromising style that propelled him to both commercial heights and critical acclaim. A devoted dad of two daughters, his journey began humbly in 2008 with the mixtape ScHoolboy Turned Hustla. His signing to Top Dawg Entertainment ignited a revolution; alongside Black Hippy, Q’s music shook up hip-hop’s mainstream.
His relentless stream of albums: Setbacks (2011), Habits & Contradictions (2012), the breakout success Oxymoron (2014), then Blank Face LP (2016), and a barrage of potent singles showcased an artist who wouldn’t compromise. “Twenty plus” platinum records speak to his popularity, but unlike those who’d sell their soul for a hit, Q’s razor-sharp rhymes and complex flows proved artistry and commercial appeal weren’t mutually exclusive.
He reminds us of his aptitude every few years, even as supremacy remains unavailable. On one-off “Soccer Dad,” Q makes it clear grandeur is not the mission; for now, he’s content coaching his daughter as others squabble over the throne. “You little rappers, go and wipe your mouth,” he snaps. Domesticity becomes his ultimate flex.
With his new album, the oft-delayed follow-up to the tepid CrasH Talk, Q has unveiled a pair of fresh singles boasting full visual treatments. In the clip for “Blueslides,” Q roams solo while intricate art installations and location footage flash across the screen. The tribute to the late Mac Miller (“Lost a homeboy to the drugs, man, I ain’t tryna go backwards) nods to his 2011 debut, Blue Slide Park. Like the initial album preview, the video concludes by defining the title term.
The definition motif continues in “Back n Love,” but Q is no longer isolated here. Rapping before a track title placard, a homemade video of gleeful kids blends into the intimate portrait. BLUE LIPS, Q’s long-teased sixth LP, interrogates lingering discomfort and allows him to rewrite the playbook on his terms. Beyond the unease, he stretches to redefine success by his metrics alone.
“Pop” is an anthem of dominance and unflinching aggression. ScHoolboy Q opens with a barrage of threats, touting his influence, gang connections, and disregard for those who challenge him. He flaunts his wealth and success with bravado, bragging about international drug networks and dismissing those who “rap” about the lifestyle but don’t genuinely live it.
Rico Nasty joins in, her verse a relentless volley of boasts and warnings. She emphasizes her unique style, untouchable status, and disdain for imitators. Like Q, she highlights her wealth and power, threatening to knock down anyone who crosses her path.
Other features include Az Chike on the short West Coast banger on “Movie,” Lance Skiiiwalker joints Devin Malik on the soul-stirring “Love Birds,” Ab-Soul shows up on “Foux” to continue the chemistry he and Q continue to have over the years. Jozzy hops on the anticipated The Alchemist-produced “Lost Times” while Freddie Gibbs steals the show on “oHio.” ScHoolboy raps over a soul sample before switching into a signature Cardo banging beat. The track switches again into another piano-laced track where Gangsta Gibbs flows butter-smooth like no other.
On the Project Pat-sampled “THank god 4 me,” the focus here shifts abruptly from boasting about wealth to simmering anger directed at someone who has broken trust (“snitching”). The hook offers a darkly grateful statement: his inner circle’s unwavering loyalty (“lie for me,” “slide for me”) is his saving grace amidst betrayal and danger. The mood switches up when ScHoolboy Q paints a portrait of this person as out of touch (references to periods, Grammys) and inauthentic. He’s both dismissive and threatening, highlighting the stark consequences of breaking the code of the streets.
The tone switches up again as ScHoolboy Q revels in his material success, juxtaposing luxury with a gritty, unflinching view of life. There’s a sense of defiance as he boasts of sexual conquests, his untouchable status, and the ever-present threat of violence (“We slide”). The song ends abruptly, fixated on appearances and the pursuit of pleasure even amid the darker realities he describes.
It celebrates the loyalty that protects him in a treacherous environment and the wealth it brings. Yet, it’s also a song about the harsh consequences of betrayal, fleeting pleasures, and the constant presence of violence—a dark undercurrent of unresolved anger and distrust beneath the surface bravado.
With an 808-knocking “Yeern 101,” ScHoolboy references to luxury cars and houses showcase a transformation from past hardships to current affluence. The mention of living “off golf from the last few deals” and the excitement over a Nike endorsement highlight the significance of hard-earned success. Yet, amidst these achievements, there’s an underlying message about the emptiness that material gains can bring, suggested by attempts to “avoid my hurt” and the realization that such successes don’t necessarily fulfill deeper emotional or spiritual needs.
More solo tracks, including the experimental “Nunu,” which could be hit or miss for some if you can take the distorted vocals, but Q sounds right at home with “Cooties,” a Tae Beast, Jason Wool and Mario Luciano boom-bap produced track that allegorically symbolizes the unavoidable and often negative influences and challenges life throws his way. He openly raps in one long verse about the quality of his existence, caught between the life he’s built and the fears and struggles that come with it.
His references to living in fear, yet acknowledging his skills and blessings, present a tug-of-war between gratitude and the omnipresence of life’s challenges. With various topics including his determination to protect their innocence and ensure they gain necessary knowledge reflects a father’s perspective instinct and a desire to shield them from the harsh realities of the world.
“I’d rather die and lose it all, before they don’t get the knowledge.”
Q’s lyrical deliberation between personal accolades and societal critique paints a vivid picture of his internal and external conflicts.
ScHoolboy Q opens “Pig feet” (one of the best hard-hitting bangers in a while, courtesy of Kal Banx) by highlighting his history in the streets. “Piggy driveway” is street slang for a place where illegal activities happen. He mentions his involvement from a shockingly young age (“Since grabbed my thirteen had to have a job”).
The focus shifts from the past to the present. Q paints a vivid image of a dangerous and chaotic lifestyle involving guns, confrontations, and the constant presence of police with the help of Childish Major. He embraces the “Groovy” persona, a symbol of his gang affiliation and readiness for violence. The sole drawback is that this song is almost at the tail end of the project.
At eighteen songs, the lengthiest Q album the same as Habits & Contradictions, he gave his core fans what they truly wanted from him, with top-tier production (ranges from trap to boom-bap to experimental), off-kilter rapping, his gangsta persona and introspection at its best. While his last album, CrasH Talk, focuses on reaching for commercial success with generic bangers and unnecessary rap features, BLUE LIPS succeeds in not chasing too much into trends and showcases how multifaceted ScHoolboy Q is as an artist.
The Los Angeles MC paints vivid pictures of street life, his Black identity, and romantic pursuits with a gruff, passionate delivery. This intensity reflects his G’d-up persona, and his naturally aggressive flow can sometimes lack nuance, but he sounds as confident as ever.
Five years may seem like a long time for a casual music fan, and outside of SZA, who’s been dominating heavily since the release of SOS, Q can help carry the torch of TDE.
Great (★★★★☆)
Favorite Track(s): “Thank god 4 me,” “Cooties,” “Pig feet”