Offset is the third Migos member to drop a solo album. I always thought that Offset might be the best one out of the group (For a few reasons), but because I wasn’t that impressed by the projects released by his cohorts, Quavo (Quavo Huncho) or Takeoff (The Last Rocket), I wasn’t that excited about FATHER OF 4.
But a few things changed. For one, the album got delayed. After originally being scheduled to be released on December 14, 2018, the project was probably pushed back due to Offset’s split with his wife Cardi B.
Then there’s that. Offset had a public breakup with his wife. From getting caught cheating to Cardi B announcing the split to Offset’s grand gestures at reconciliation to the couple getting back together; all of this was played out on the internet and social media.
All of this intrigued me. Would this be reflected in the music of the eventual album? Could this be a the trap version of Jay-Z’s 4:44? From the guy who had the first (and best) verse on “Bad and Boujee”? Seems crazy right? Then the visual album trailer dropped, complete with real footage of Cardi B giving birth, and it seems that’s exactly what we might just be getting.
So now that Offset’s album, FATHER OF 4, has finally been released, let’s take a track-by-track look at the solo debut from the Migos member.
1. Father of 4
Featuring Big Rube; Produced by Metro Boomin
First off, as a Georgia old head who grew up as a huge fan of Outkast and Dungeon Family, props to Offset for putting Big Rube on the intro track; that’s a straight Atlanta move.
The title track has me saying a phrase I thought I’d never use: “Mature Migos Music”. As the title suggest, Offset talks about his children Jordan, Kody, Kalea, & Kulture. Over a somber piano laced Metro Boomin produced track, the rapper covers issues like not knowing if he’s truly the father of one of his kids, to being in jail and missing birthdays, to not being able to post Kulture on social media.
It feels like Offset is coming from the heart and I applaud that. He using a slower flow than usually but I kinda wish he switched it up all together. But this is a good start as it gives us something different out the gate.
2. How Did I Get Here
Featuring J. Cole; Produced by Metro Boomin & Dre Moon
J. Cole continues his tour of jumping on songs with trap rappers as we see him get a feature on “How Did I Get Here”. As the song title suggests, Offset asks questions on how he achieved success after all he’s been through:
Where I’m from, niggas cash, don’t lease
Where I’m from, the stick’s on the backseat
Where I’m from, police put you six feet
A lot of bums and they sleepin’ on the street
J. Cole’s verse feels short but it keeps with the theme. While this isn’t a bad collaboration, I’m not sure if we’ll be talking about it in a few months; it’s paint-by-numbers.
Speaking of collaborations, it was recently revealed that Offset unsuccessfully tried to get a Kendrick Lamar feature on this project but. To me it feels like “How Did I Get Here” would be something K.Dot would rap on but the specific track was never specified. Maybe next time.
Produced by Wavy & Dre Moon
On “Lick” Offset provides more on his background as he raps about his home life to his school days to taking drugs and to being involved in crimes. The flute led instrumental gives the song a laid back vibe but the actually content isn’t; I appreciate that juxtaposition:
‘Member I was in the middle school, with a fit or two (‘Member)
Mama had the boy by herself, it was critical (Mama)
Started with the weed, then codeine, then a pill or two (Codeine)
Hit one lick, then I hit two
I don’t mind this one at all.
4. Tats on My Face
Produced by Southside & Metro Boomin
Things get darker on “Tats on My Face”. Over a bass filled beat, this feels like the soundtrack to car ride on the way to a robbery and everybody in the car is dressed in all black with face tats (If that makes sense). This is punctuated by Offset’s lyrics (“I keep thinking of death, I’ma kill”).
“Tats on My Face” is an okay song but if I was being picky (Which I guess I am), I’d point out that this song sounds like it could be on countless of other projects by other trap rappers.
Coincidentally enough, Offset sounds at home on “Made Men”. Here the rapper is at his most flashy over a bass heavy beat while rapping about taking drugs and “ridin’ through the city with the Smith & Wesson”. Without any proof, this feels like a Migos tracks with only Offset verses. I like it.
6. Wild Wild West
Featuring Gunna; Produced by Allen Ritter & Metro Boomin
While his appearance on this album isn’t a surprise, I’ve never been a big fan of Gunna. And as I figured, he didn’t really add anything to “Wild Wild West”. But I won’t put it all on him, the whole song is kinda boring. Next…
7. North Star
Featuring CeeLo Green; Produced by Allen Ritter & Metro Boomin
Another salute to Offset for featuring two Dungeon Family member on this album as we see CeeLo Green show up to do the hook on “North Star”.
Production wise, this track may be the most pop and radio ready track on the album. Offset’s lyrics of trying to overcome adversity (“They lyin’ about the hoes, it’s fuckin’ my bitch up mentally”) and CeeLo’s uplifting bridge/hook only add to this.
Pop leaning rap songs are usually not my thing but “North Star” is good for what it is. I still probably won’t be revisiting it.
8. After Dark
Produced by Dre Moon, Allen Ritter, & Metro Boomin
“After Dark” has an appropriately dark and eerie feel due to the production. After a few listens, this may actually be my favorite track off the album. This is one of those occasion where everything just fits well. While Offset raps about sad things like the death of his friend Paris Brown and marital issues with his wife, he still finds time to talk shit:
I get bread by the loaf
Bought a Lamb, bought a boat
Cookin’ up a chicken, wash my hand off with soap
He done took the stand, they gonna kill him down the road
Macbook Pro, how I bend over your hoe
This one is worth checking out.
9. Don’t Lose Me
Produced by Doughboy Beatz & Metro Boomin
Speaking of Cardi B, “Don’t Lose Me” not only speaks about the break up and reconciliation be Offset and Cardi, but it features his public apology to her on the intro.
I actually thought we’d get more of this during this album, but this is the first true song on the issue. It’s understandable that Offset made this song; He probably had too. But can a song be romantic and heartfelt if the rapper uses an Auto-Tuned Migos flow? Maybe. I don’t know. I’m sure Cardi liked it so that’s something.
Don’t be surprise if “Don’t Lose Me” turns into a popular phrase used by women on Instagram.
Produced by Southside & Metro Boomin
“Underrated” feels like an interlude as it barely clocks in over two minutes. That being said, it’s well executed. Yes, it’s another track that can be filed under a Migos song with Offset verses, but it works as we hear lyrics about being counted out, all backed by good beat from Metro Boomin & Southside.
Featuring Travis Scott & 21 Savage; Produced by Southside & CuBeatz
Is it weird that the first (and only) posse cut on the album and it isn’t featuring Quavo & Takeoff? Now that I think about it: Where is Takeoff on this album?.
All the rappers involved here turn in serviceable verses but they don’t really show much chemistry as it’s mostly cut and past.
It was cool seeing a 21 Savage appearance seeing as Offset recently got into a beef with Chris Brown in 21’s defense.
Featuring Cardi B; Produced by Southside & CuBeatz
This album had to have a Cardi B feature right? Well here it is. The married couple take aim at the clout chasers of the world (“Do anything for clout (Anything)/They do anything for clout (Anything)“.
Early on in Cardi B’s career, I gave her flack on not being the best rapper. I’ll be the first to admit that since then she has gotten better. Especially on “Clout” where she actually steals the show:
I should run a whole blog at this rate
They using my name for clickbait
Bitches even wanna start fake beef
To sell their little weave and a mixtape
To be honest, this track had to grow on me, but I actually like it now (This Instagram post helped).
13. On Fleek
Featuring Quavo; Produced by Doughboy Beatz, Zaytoven, & Metro Boomin
Do people still say “On Fleek”? Besides that, is it me or every time Quavo jumps on the song, the use of Auto-Tune singing goes up way too high? That happens here from both Migos members. Then I hear Zaytoven’s keyboards and I checked out as Auto-Tune over Zaytoven production is something I’ve heard too many times before. Next song…
14. Quarter Milli
Featuring Gucci Mane; Produced by Metro Boomin & Pyrex
It’s Atlanta law that if you are an Atlanta rapper, you have to put either Gucci Mane or 2 Chainz on your album (Look it up). Offset checks that off by featuring Guwop himself on “Quarter Milli”.
Nothing really stands here other than Offset quickily speaking on his absentee father (“Mama in Celine, fuck my daddy”) and referencing MLK (“Luther King with the dream, work magic”). This is a general mixtape track and probably could’ve been left off in what feels like an already long album.
15. Red Room
Produced by Metro Boomin
“Red Room” was the single for FATHER OF 4. It actually came out last year around the album’s original release date but was pulled from the internet for whatever reason.
While the song comes off as dull, I totally understand why it was put out first. It shows the direction that the album was going in. It’s a slow and serious song that talks about Offset’s setback such as the almost fatal 2018 car crash or even how record labels treat Black artists. And I appreciate that. But again, the song (and the music video) are boring.
16. Came a Long Way
Produced by Metro Boomin & Dre Moon
On the last track on the album, Offset reflects on how far he has come. He starts with the hook:
Came a long way from the choppa and the car (Raa!)
When I’m on the North they treat me like I’m Escobar (Nawf)
I was kicking doors, never thought of being a star (Hey)
Now I pull up in the Rolls with the baddest of them all (Bad)
The “victory lap” track ending the album is something a lot of rappers have done and here Offset pulls it off well. The Metro Boomin production is a little more upbeat and hearing Offset talking about paying his mother’s bills and setting up future generations is a nice finish. And that’s the end of FATHER OF 4.
While Offset’s solo outing wasn’t near perfect, it was easily my favorite solo album released by a member of Migos so far. I’ll also give Offset props for going in a more mature route. While I speculated before the release, I didn’t expect that it to actually happen. This album is mostly about his criminal history and getting past that and being successful for his kids. I appreciate that also. And after watching his recent interview on The Breakfast Club, this was an intended move. Like I said in the review: “Mature Migos Music” are words I thought I’d never type.
But like a lot of QC releases, FATHER OF 4 suffers from the length. It’s not even that long at sixteen tracks, but a lot of the tracks could have been left off for a stronger result.
And while I commended Offset for the content selection on this album, some of the songs didn’t get across because he used the Migos flow. He does changed up a few times, but it’s hard for me to connect on real topics when the “Versace” flow is used.
While I’m sure FATHER OF 4 won’t be on my “Best of 2019” list, it’s interesting. There are some good songs on this project and seeing the growth of Offset is cool thing. But a change in execution on some songs, as well as some songs that should’ve been left on the cutting room floor, were needed to push this album to another level. Either way, Offset should be a proud FATHER.