Wiley - Godfather III
I thought I should start this by giving a short intro to Wiley. Widely accredited by fans and artists as a pioneer of the Grime scene, it would be impossible to overstate the impact he’s made in Grime, in fact it would be impossible to overstate the importance that he’s made to UK music in general. Starting off as a member of Pay As U Go Wiley first began his life in UK Garage, eventually as Pay As U Go disbanded Wiley went on to form Roll Deep, containing Dizzee Rascal, Tinchy Stryder and many more. This was where we really started to hear an evolution of the UK Garage sound and things started to sound more like the Grime that we came to know and love. It’s certainly not just Wiley who thinks he’s the “Godfather,” not many in the scene would argue that, but he’s certainly not going to let you forget it.
A lot of newer fans were put off with last years altercations with just about anyone who makes any music, after Wiley was widely publicised to have labelled Drake as a “pagan,” and Ed Sheeran as a “culture vulture,” before taking a much more direct approach with Stormzy, firstly sending very direct tweets on Twitter before the pair released a few tracks which must have been absolutely shocking if you hadn’t grown up watching Lord of the Mics. I think people who have been listening to the scene since the Rinse FM days will have attributed this behaviour as just clever marketing, I know I was expecting this album long before it came. This marketing is tried and tested and it works, it was certainly successful for Wiley, exposing himself to a whole host of people who’s entry point to this whole genre was Stormzy. I heard people talking about the tracks everywhere, at work, in bars, in fact I even got into an argument with my barber over who we thought took each round (word of warning kids, don’t start an argument with your barber).
Then the dust seemed to settle slowly, I wasn’t hearing the arguments anymore and Stormzy had disappeared from Social Media altogether, but there was still no album from Wiley? I was hearing that Wiley was all over the capital, recording verses with MC’s from just about everyone involved in the scene, but there was nothing solid as to why. I’ve heard that it was something to do with labels telling Wiley he had to wait before releasing the record on his own label, but again nothing concrete. I saw something on Instagram that it was going to come out 1st of January, but at this point Wiley was posting a story or a tweet once a minute so I was hardly surprised when this date came and went. Finally in June, nearly 5 months had passed since Wiley’s last send for Stormzy, we had an album. Even then it wasn’t easy! It dropped first on Apple Music before making everyone on Spotify wait a little longer. I actually signed up for Apple Music when I already had Spotify because I couldn’t wait one extra day for it to come out, so if anyone knows how to contact Wiley I’d like to invoice him for that pointless subscription fee.
So finally it was here! I was really busy at the time and I don’t like to listen to a record before I can give it my full attention so I actually saw the track-list before I even had a listen, and at first was amazed by the lack of features, where had all those verses that Wiley had been collecting suddenly gone?! Then I saw a tweet from Big Zuu saying that he’d featured on on a track but had not been credited (Track 20 - West London, if you’re wondering) and I thought “Wow, that’s just so Wiley.” A couple of days later though Wiley himself released a list of all the features on the album, and when I saw that I had to listen straight away. There’s some huge huge names on that list, both established legends in the scene like D Double, Jammer and Footsie, to what I think of as the new breed of people that will carry the genre even further like Big Zuu and Capo Lee, and some people who I won’t lie I’ve never heard of. It seems like Wiley is determined to use his last record to make sure that the wheels of this genre are still spinning.
So onto how the record sounds. Normally I like to do a bit of a breakdown of every track, it allows me to really work out any tracks I really enjoy or any that I think could be left out, but I’m not going to be doing that right here. Purely because this record is incredibly long and I really didn’t fancy writing my thoughts when it comes to 22 separate tracks, I’m not exaggerating either it really is 22 tracks long! Obviously the whole thing does have a very Grime feel to it. Just the lengths of the tracks themselves make me think of the old days of Grime. With an average track length of less than 3 minutes it gives the whole thing a really fast paced feeling, comparable to the way that Wiley has always flung bars at us at a million miles an hour, his final album flings tracks at us with comparable speed.
The first listen I felt almost overloaded. With so many features that I did find myself thinking “Was that so and so?” so much that I missed just about every punchline and barely even recognised the productions. So I had to go back a few times and listen all over again, although that’s definitely not a chore! Production wise it’s much as you’d expect, very Grimey and very heavy in the early tracks which leaves me feeling that Wiley really is cementing that flag in the scene before he departs. Don’t make any mistakes at all though because this is not a record in which all tracks sound the same, Wiley keeps even the Grimiest tracks sounding varied by switching up his rhyme flows often and the hooks change between each track. Production wise my favourite track would have to be family which features Flirta D, Footsie and Goldie1. I think the track is produced by Mr Virgo and for me it brings a really fresh sound which can often be quite difficult when producing a genre which is nearly 18 years old now.
Lyrically Wiley comes just as hard as he always has. He comes out swinging on Intro letting us know exactly what he thinks of his role in the scene saying “I’ll be the father bro, you can be the son of it.” As a huge fan of wordplay I also feel like I’ve got to shout out the London scheme in Intro also, which end with a punchline saying “They’ll pull up to the junction, jump out and Clapham.” Had me screwing up my face like I was in 2004 all over again. The bars continue from Wiley as the record goes on, always following the similar theme with Wiley reminding us exactly who we should thank for this whole genre. In terms of features for me it’s Tempa T that absolutely steals the show, probably because I don’t think I’ve heard from him for so long. But having just written that I’m having so many more ideas, J2K is absolutely incredible on Double Dragon and Manga Saint Hilare shines on Amsterdam alongside Breeze, Scratchy and Wiley. Yes you did read that last sentence correctly, it’s basically a Roll Deep reunion on that track.
My only concern with the new album coming out would be that it wouldn’t have any flow. Lately Wiley seems to struggle to focus on one topic, in his interviews with Zeze Millz and Poet for Filthy Fellas I didn’t really know what he was talking about more often than not and I was concerned that lack of cohesiveness would translate into the record. My concerns were unfounded though and, like I’ve said earlier it’s very much a Grime showcase in the early tracks. This does get mixed up as we go continue through though, Rinse for example uses a production that Donae’o once released to give a more UK Funky feel. I also love the final track Press Record, which slows everything right down and moves as far away from Grime as it’s possible to go, but lets us really feel like Wiley is talking to us. I also find it quite emotional because it makes me feel like Wiley is actually serious that this is going to be his last album, and I just don’t even want to begin to imagine this scene without him.
Think what you like of him, and he’s certainly split opinions over the past few months, you simply cannot overstate the impact he’s made. And if you were doubting this statement, this final effort will make sure you rethink that. It’s quite amazing that there are 22 tracks and I genuinely cannot think of a single one that could be taken off this record, a truly sublime effort from the true Godfather. Thank-you Wiley.
