Maryland native, Logic, is no newcomer to the underground rap scene. His official sophomore Mix Tape “Young Sinatra” put him on the map and his following project “Young Sinatra: Undeniable” solidified his stance. Critics and fans alike, have praised him for his smooth flow and unruly versatility. Logic can effortlessly switch styles and excel in each one he enters, thus begging the question: What is Logic’s niche? Unfortunately, the third installment of the “Young Sinatra” series still leaves us in confusion . It displays his versatility and the usual rhyme slaying but doesn’t divert from the usual formula Logic’s work tends to have. It is still largely a mixed bag of styles and to such a degree feels unfocused. Don’t get me wrong, the project is still very solid. Given if it were his first project, it would surely have made a huge splash. However, that is not the case. Regardless, Logic still manages to fill this 20 piece mix tape to the rim with worthwhile tracks, solid production, and a his usual lyrical prowess.
The production on Logic’s projects have always been full of variety. For one, there is no single producer who takes the helm of the project. It’s a number of producers with the likes of “C Sick”, “Don Cannon”, “Swiff D”,”6ix”, “Kevin Randolph”, and “No ID”. Since there are multiple producers, the project feels disjointed in respect to the production. There is no similar style being achieved and thus doesn’t allow the project to flow from one track to the next as easily. This doesn’t exactly hinder the project’s ability to display the given message of the tape but doesn’t allow it to transition well either.
“Welcome to Forever” may not be connected in respect to the production but looking past that, it certainly does sound good to the ear. In any given Logic project, you will always find the usual instrumentals used from other artists such as on the tracks “Roll Call”, “Feel Good”, “The End”, and “Common Logic/Midnight Marauders”. These tracks grab the instrumental for each given song and either add some small intricate extras or just leave the instrumental as is. There are also the tracks chopped and mixed by his fleet of producers. With each producer the listener will hear a distinct difference in production style. For example on the largely Trap Style influenced track “On The Low” produced by Swiff D, we will hear a mainstream, hard hitting styled track accompanied with fitting features from Kid Ink and Trinidad James. On the Kevin Randolph produced tracks “The End” and “Man of the Year”, we get treated to a more subtle sound with a sweet sample from Adelle and a prominent piano riff leading the track, respectively. Each producer doesn’t step out of line from their usual production approach allowing their work to flourish in their normal atmosphere. Overall, production is mostly solid in all the styles this project covers. Each individual song’s platform is setup as nicely as it can be and can set the tone needed for the track. Production aside, Logic isn’t all about the beats. He is a lyrically oriented artist.
It is no surprise that Logic delivers endlessly with his relentless flow on “Welcome to Forever”. Over the past three projects he has clearly refined his sound, delivery, and lyrics. This is mostly a celebratory project that brushes over aspects such as the success he has gathered, what fame carries along with it but also goes into deeper issues regarding the pigment of his skin, the seductive women everywhere he goes , and the self conscious feeling of having all eyes on him. It isn’t anything us Logic fans haven’t heard before but gives us another welcomed added layer to the Sinatra series.
A few standout tracks that really struck out to me where “Roll Call”, “Common Logic/Midnight Marauder”, and “Just a Man.” On the track “Roll Call”, he covers a whole range of topics from his incomprehensible global fan base to his ex trying to get back with him, all the way to the discrimination he receives from his white complexion. This track really captures the essence of what this whole mix tape is all about. The sheer amount of topics that Logic mentions is insane and can essentially be the condensed summary for the mix tape.
On “Common Logic/Midnight Marauder”, Logic takes a more sinister approach to his personality as he spits ” Motherfucker I’m killing/Spittin’ venomous never remember this it’s like a system/Say it then I do it I never missed ’em/Fuck ’em after I kissed ’em.” The second half of this track interests me the most. The switch from the first half to the second half is very noticeable when it comes to the production. It becomes even more so noticeable when Logic begins to rhyme with a sort of endearing and careful tone than the afore mentioned aggressive style. His lyrics are about leaving a “letter to the underground” and says farewell as he journey’s into the main stream. It’s his last hoorah as an underground artist and makes sure to let his fans know that he won’t change. ” And even though I’ve gotta leave man don’t none of y’all grieve/Cause even in the mainstream that lyricism I breathe.”
The track following so happens to be “Just a Man”. The track placement of this song is genius. The fact that it follows “Common Logic/ Midnight Marauder” has to mean something. The track is this self exposing display of what Logic has gone throughout his life. It touches on aspects about tough times he had as a kid, if he’ll make it once he breaks through into the main stream, and the pigment of his skin once again. Logic has never really delved into these topics as deep and vivid as he does on this track. ” Remember the time I opened the bedroom door crack?/And saw my daddy smoking more crack?/No food in my house, we just couldn’t afford that/Momma drinking, sleeping until five/But she always seemed to get up whenever men arrived.” It serves as a reminder that once Logic makes it through into the main stream that he can’t always be perfect and all of his fans won’t always like everything he puts out. It’s almost like he is asking for his fan’s to cut him some slack. After all, he is “Just a man.”
Then there were tracks that felt a bit uninspired or out of place such as “On the Low”, “Break it Down”, and “Life is Good”. “On the Low” was a track aimed at the main stream scene. The track felt out of place on the mix tape with its trap style beats . Also to me, it’s a bit contradictory that this track could be about “hustlin” and “f*ckin yo b*tch” but on other tracks such as “The high life”, he’s not about that life. Logic can definitely rhyme over this beat but once the excessively long chorus comes in to the tune it just sounds downright awkward. The track “Break it Down” with its “Ima get high” chorus didn’t help either. This track felt more as a filler more than anything else. Throughout the track he switches from rapping to this weird singing-rapping style that just does not work. On the last track I mentioned ,”Life is Good”, he does another track with a singing-rapping style and once again feels off. Logic is usually good about his versatility but these tracks don’t really do much for me. Another problem is the consistency throughout the mix tape. There are tracks where Logic clearly contradicts himself as I’ve mentioned before, production that doesn’t go hand in hand, and at times sloppy placement of tracks.
This is not Logic’s best project. It is his last effort to his fans as he hits the main stream. It is in fact solid but doesn’t carry that same residing feeling that the previous projects left me with. What it lacks in production transition it is made up with Logic delivering on the mic with his versatile style and lyrics. He has given us a formal good bye to the underground, as well as an invitation to come along with him on his ride into the main stream. Over the years, Logic has blossomed into one of the best up and coming artists. As he stands today, he has broken into the hip hop main stream and demands attention. The fitting title to this project pretty much sums it up for his awaiting future as he has finally made it. Logic welcome to forever.