Having come back with a bang in 2017, with his acclaimed ‘Godfather’, and his self titled book ‘Eskiboy’, and following on from this year’s successes, chiefly an MBE for ‘Services to Music’, and his follow up album ‘Godfather II’, Wiley has come back on a Ragga tip, this time, to bring us his latest riddim ‘Boasty’, Produced by Mucky.
Unafraid to trailblaze genres for music’s next generation, open doors, or share wisdoms about the industry, this riddim shares some insight into Wiley’s current outlook on the ‘Boasty’ nature of Hip Hop, Grime and the whole culture, as well as his own take on it. In a nod to some of the sentiments of Jay Z’s ‘Story Of OJ’, but with his signature East London delivery, and original style, Wiley flips the term ‘Boasty’ on its head and drops some gems about how to do it with class, sense, maturity, and humility, rather than in the flashy, wasteful way of most of today’s cultural figures.
Never one to follow rules, the lyrics in the riddim show where Wiley is confident, still, expressing himself, as he is, where he is, and when he is, in life. Rather than jumping on the next hype and rinsing it, Wiley captures an influence, or concept and puts it to work for him, stamping himself all over it, regularly bringing us something fresh. As such Wiley is always unapologetically and unmistakabley himself.
As Carnival hits, Grime’s OG, and producer Mucky have increased the last of the summer heat for us, bringing a Dance Hall inspired track, with hints of 2 Step, heavily laced with that irrefutable original Wiley pattern!
Kicking off production with a heavy repetitive kick - snare pattern, busy hi hats, a heavy, low and empty horn-like synth bass line, and wave sounds, the drums are later punctuated every four bars, and change to a different pattern and kit completely in places (including adding a shaker etc., and changing the snare pattern), to frame the hooks and verses differently, but seamlessly. The bass line also changes pitch, and instrument, later in the track, and repeats this pattern throughout. There are also signature Grime computer synths floating over the top in places, and the occasional ad-lib, with Wiley himself providing the melody with his flows.
During the hook, Wiley shares that he’s still on a flex ting, he’s just smart about what he spends his racks on these times; ‘Buy a house cash, I ain’t tryna get a loan/All the chains and,watches, I leave them alone/Still got the drip though, I be dripping those....When they saw the black and yellow on my whip, Bruddas froze/Like Boasty, boasty, Godfather man are OG/Man are half humble, man are boasty.....Boasty, house on the coast G’. Here Wiley reveals where he feels his money’s better spent, invested in property and high end vehicles, rather than jewellery and things beyond your means, that require loans (that while making you appear richer, will actually empty your pockets), but also that he spends enough to shine, still. He also shares that in this way, he’s accumulated so much wealth he won’t even get to see it, despite also getting to travel as much as he likes; ‘My money’s so long, it doesn’t know me/It’s looking at my kids like I’m boasty/I fly around the world, coz I’m boasty’, and as such, his kids are set for life.
During the main bars, we get some original Wiley flex, where he reminds us what he’s got to be boasty about, still; ‘Used to stand up in the dance, Brudda 30 man deep/In the after party, we don’t wanna go sleep/Everybody wanna be a don, I hear/Your looking for the Top Boy, he’s standing right here’, nudging the scene to remember who laid the groundwork for all the mandem, who get their flex on in the U.K., these times. Later he flexes about the gyaldem, getting waved, and his connections, ‘Which gyal wanna come and sing me lullabies/Gyaldem who love me, they wouldn’t come here otherwise/You can see the Cali weed, when you look into my eyes/Man call Drizzy and a couple other guys’, sharing that he’s showing out, still, he’s at the top table, still, and he’s gonna be around for a while, still.
Wiley never fails to bring a new wave, often from left field, and repeatedly repositions himself at the top of the most current, creative artists from the U.K. to watch. A real vibe, and a cleverly executed track.