Wiz Khalifa Mostly Sticks To His Own Winning Formula On The Supersized ‘Rolling Papers 2’

07.13.18 7 months ago

Taylor Gang / Atlantic Records

The supersized album format is officially played out. But before it goes, Wiz Khalifa has delivered one of its most worthwhile efforts in Rolling Papers 2, which never tries to be anything more or less than what it is: A collection of good to great songs which mostly stick to Wiz’s winning formula.

After only a few songs in my first listen, it became evident to me that Wiz wasn’t here to make some grand artistic statement. He has, refreshingly, absolutely nothing to prove, unlike Drake, or a high concept, like Future. Culture II might be the most ready comparison, but unlike Migos’ valiant effort, Rolling Papers 2 never comes across as workmanlike.

The fact of the matter is Cameron Thomaz just loves to rap. This isn’t just an option or an outlet or an occupation — it’s Wiz’s favorite thing to do, aside from the obvious, marijuana-related activities that make up the majority of his music’s content. There’s a relatable, enjoyable sincerity in his unpretentious, straightforward approach. He doesn’t have to reinvent the wheel, he just has to make sure it rolls (sorry not sorry for that pun). It’s part of what’s made his evolution from rapper’s rapper to lovable stoner so believable and smooth — he doesn’t have to prove anything to anyone, he just does him.

Part of what makes Rolling Papers 2 less of a slog than some other offerings is Wiz’s overarching strategy that balances the album’s production within styles he’s best known for without segregating it into sections of trap/R&B/etc. The fact that the album never quite settles into a groove works to Wiz’s favor; the sequencing never lulls due to a run of tracks that sound too similar and repetitive.

A prime example comes early in the tracklist, as the groovy title track eases into its breezy follow-up, “Mr. Williams.” Before the album settles into this pocket, though, two trappy bangers break up the midtempo smoker anthems, each containing a guest verse (Snoop Dogg on “Penthouse” and Gucci Mane on “Real Rich”) that both breaks up the potential for monotony from their host and spark his competitive drive, prompting him to turn in rejuvenated-sounding verses of his own.

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