ALBUM REVIEW: Cocaine 80s — Ghost Lady
Download: Cocaine80s – Ghost Lady
Sorry for the wait (No Lil Wayne). Cocaine 80s should have been covered way before now. I guessed that it was, but, when Ghost Lady was released, I went on here, of course, to see what Stone or my fellow Couch Sessions contributors had to say about the record. Come to find out, nothing. So, ta-da! Here it is. Let’s get to it; Ghost Lady is reminiscent of the ensemble’s name, Cocaine 80s. Dope.
In less than 21 minutes that contained nothing but superlative production, one is placed in a position to emphasize with a variety of points of views and circumstances of past, intimate relationships that include a love that has deceased for at least one of partners.
For those who are unfamiliar with Cocaine 80s, the outfit consists of: Kanye West’s mentor No ID as the “chemist” (producer), hallowed rapper Common spitting “dope raps,” blue-ribbon songwriter James Fauntleroy singing the “blues,” Kevin Randolph with the “kilos” (keyboard), Rob “The Mixer” Kinelski as the engineer and “sonic manipulator” and Steve Wyreman handling the axe, free bass and “keys of coke.”
Now that that brings all up to speed, back to the album. In truth, the mastery of using death as the motif of the EP is solely equaled by the group’s unity and cohesion throughout. To illustrate, Common ripped his sole appearance on the record in “6 Ft. Over,” which also comprised of some of Randolph’s best work on the EP. To boot, there is the track “Tomorrow” that Wyreman simply ripped.
Even more than the motif and cohesion, the most striking aspect of Ghost Lady is the skill of conveying different stances effectively. In the opening track “The Fall,” the convictions of one partner chasing another who is attempting to leave is described cleverly.
“Caught her at the bottom. And promised her I would keep her safe. Or at least fall. So she wouldn’t fall alone. I’ll go where you are. Just tell me, I have to know,” voiced Fauntleroy on “The Fall.”
On the other hand, C80s exhibit a partner’s sentiments if he/she does not want to get back together but the other partner does.
“And you want to come back here, I know. You were better off alone. Till you were really alone,” Fauntleroy expressed on “Missing Me From Heaven.”
Last thing that must be acknowledged is the exceptional artistry in making songs about oneself pertaining to relationships. In “Tomorrow,” the band encapsulates a person trying to advise himself/herself to stop being so pessimistic about love in the present because there will be a future of loneliness (death of companionship).
“You still got love to give. I’m in the mirror. Tryna convince ya. So I can live…,” sings Fauntleroy on the track.
Apart from “Tomorrow,” the song “The Legend of the Heart” appears to be metaphorically be about one’s relationship with one’s actual heart.
All the same, I could be wrong about the concepts of the songs I deciphered. One thing that kept evoking in my mind was that, ‘Cocaine 80s need to decode this EP.’ After reading Jay-Z’s book “Decoded,” most if not all now think how many other points in songs have yet to be noticed and appreciated. Ghost Lady can mean so many other things. Like, maybe ‘The Fall” was not about what I wrote. Maybe it was about an actual suicide. I do not know, and I do not pose myself as a music elitist who knows as much as the actual artists because of my experience covering music. All I do know and will say is, ‘Ghost Lady is dope.’