Logic - Everybody
Logic is easily one of the biggest rappers in the industry currently. Whether you listen to his music or not, you know his name. Everybody marks his third studio album released following a slew of individual EP releases over the years Everybody released over the past weekend on May 5th and is doing really well with both physical and digital of both the deluxe and standard editions of the new record. However, Logic made it clear that he will be releasing one more album after this one before quitting the rap game indefinitely, which hit some fans like a brick to the temple. Singles like “Everybody” and “Black Spiderman” gave us a taste of what he was up to in the studio, and now that Everybody is in the wild, I figured it was time to take the album in as a whole to get the full experience, like Logic himself said was necessary on Twitter.
Opening the record with “Hallelujah,” Logic truly sets the stage for the masterpiece that is this record. Referencing his take on the world and incorporating everything he feels is necessary to establish the scene for this album is done perfectly from just the first track. There are some religious vibes, but they are crucial to telling the story that begins from the ending skit of track one. He lines up the scene with a man named Atom getting hit by a car and dying on his way home from work, following him as he meets God, who helps him get his shit together for reincarnation. “Hallelujah” is a happy and upbeat track that gives off some really lighthearted vibes while providing the controversial subject matter that Logic is known to tackle. During an interview with Genius lyrics, Logic states the second track “Everybody” is about promoting racial equality while showing his own personal experiences with it. It’s pretty obvious from previous records and certain tracks on Everybody that he didn’t have a great life growing up, both at home and in the world, with some perfect rhyming and storytelling. Logic is a man who takes no shit and he wants to make sure everyone knows that early on. “Confess” is a six minute stunner of a track over a fire beat that takes lyrical inspiration from the things he has done that he is not proud of, coming out as one of the hardest tracks on the record.
You’re probably wondering why this album doesn’t have a perfect score if I think of it so highly, and the reason is “Killing Spree.” Sure, the message that mainstream media is overdone is clear, but the chorus is boring and so repetitive that it’s hard to listen to at times, but ultimately, Ansel Elgort’s feature makes it unskippable. It’s a pleasant surprise to find that Elgort is talented on and off the camera. “Take It Back” is about childhood and how he always held his head up high through the bullshit and racism he encountered in his childhood. “America” is political, but the beat makes it an amazing jam regardless of how I feel about politics in music or any entertainment. I can’t front on how great all the guest features make “America” as well, making it a pretty interesting listen. Logic is great at painting his visions with his verses in vivid ways. According to Logic himself, “Ink Blot” is about a rapper who talks about money and material things even though he doesn’t want to. Deluxe editions of Everybody come with a documentary in which Logic states “he’s not happy with the life that he’s living because he’s one of those rappers who’s just focusing on money and materialistic possessions.” Featuring a well-known and (maybe) well-loved rapper, Juicy J, the track powers through some backstory that seems misplaced but is altogether very well written. “Mos Definitely” is a play on rapper Mos Def’s name, as he is stated to be one of Logic’s greatest inspirations. It’s a very stylish, unique song that’s followed by “Waiting Room,” another wonderful skit following God and Atom’s adventures, which are a serious highlight of the record. Logic wasn’t toying when he said listening to Everybody in full provides a dense and amazing story. After the skit wraps up, you’re awoken to the beautifully illustrated song “1-800-273-8755,” which is the actual number of the national Suicide Hotline. The song follows a young man who wants to kill himself and calls the number. At the end of the song, his mind is completely changed when he says he wants to be alive, the opposite of the first line, “I don’t wanna be alive.” This is easily the best track on Everybody, with the next track “Anziety” a close second. Logic and Alessia Cara’s verses are in perfect harmony, before it ends with Khalid repeating “I don’t wanna die” as the song fades out. You can almost picture a curtain closing over the scene.
“Anziety” is perfect in every way, from Lucy Rose’s vocals in the introduction to the story about a doctor diagnosing Logic with anxiety, after Logic refusing to believe it for a long time. The track talks about the mental and physical effects of anxiety, a long and strenuous list that Logic pieces together like a jigsaw puzzle. “Black Spiderman” is a quintessential Logic track and overall makes a better single than “Everybody. It talks about being yourself but respecting other people’s opinions. There is a skit at the end, but unfortunately, it follows two men hanging out, smoking weed, and discussing how Spiderman should be black in the next film. Everybody closes with the 12 minute banger “AfricAryaN,” where Logic runs through his thoughts on growing up biracial over a beat that sounds like it was taken from a 90’s platformer for the SNES. I don’t think there is a higher note the album could end on. Ultimately, Everybody is a timely story told perfectly, and Logic is the Stephen King of rap. Once the next record drops and Logic quits rap, I’m not sure the rap scene will be the same, but his legacy will remain. Quit sleeping on Logic. He’s here for the crown.
- Dakota G.