J WELLS - Digital Master 2.1 | Review By: Conan Milne


Release Date : 14 April 2009

Label : Bonzi Records

Rating: 4/5

 

Dub Quotable: On Digital Master 2.1, Wells secures an array of Hip-Hop luminaries in an attempt to seal his reputation as California’s most promising instrumental provider.

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Related Media

J. Wells - Already Famous (ft. Kurupt, Da Brat & Mister) (Audio)
J. Wells - We Don't Give A Fuck feat. WC (Audio)
J. Wells - Already Famous (Featuring Da Brat, Kurupt & Mister) (Video)

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For some time, J. Wells has plied his trade as the West Coast’s self-proclaimed Digital Master. A burgeoning production career established him as a notable talent, and one that could eventually warrant such confident perception. On Digital Master 2.1, Wells secures an array of Hip-Hop luminaries in an attempt to seal his reputation as California’s most promising instrumental provider.

Wells strength lies in catering his production to each individual guest. For example, the jovial bombast of “All My B-tches” is an obvious fit for a hilariously unforgiving Snoop Dogg. Over the skewed, carnival melody, Snoop revels in channeling his less fortunate youth, lamenting, “Didn’t have no b-tches, all I got is one hoe / And she ugly as a muthaf-cka!” Refusing to dwell on the past, Tha Doggfather ultimately reminds all adoring females, “You ain’t nothing without me!”

“We Don’t Give A F-ck,” is similarly carefree, as Wells trades verses with WC over a welcome mesh of nineties static and bubbling G-Funk synthesizers. It’s a fine platform for both artists, with sometime rapper Wells boasting of committing, “Lyrical molestation, coming straight from L.A.” Dub, meanwhile, is reliably animated, and his boisterous flow conjures menacing imagery. Over the ominous sounds, he bellows, “I’m at the weed spot, guns on the dash / Counting five thousand, all wrinkled ones in cash.”

However, Wells doesn’t limit himself to scoring only gangsta rap icons. Estelle leaves listeners entranced with her pained harmonizing on “You Don’t Love Me.” Styliztik Jones is also refreshing, as he provides the necessary male response to her mesmerizing vulnerability. The greatest asset, however, is the husky lounge jazz that soundtracks both man and woman’s reasoning. Wells foggy production is all restrained keys, descending bass, and barely-there, strummed strings. “Gotta Have That” showcases further versatility. In stark contrast to the subdued “You Don’t Love Me,” this cut features a regal Big Gipp asserting himself over punchy drums and a slithering synth concoction.

J. Wells continues to prove himself as a gifted producer on this release. With such an obvious wealth of musical influences, the albums only real flaw lies in its compilation-like sequencing. Snoop’s contribution doesn’t sit comfortably alongside Estelle’s, and the two vastly different songs segue awkwardly. The same can be said of the gruff, Mack 10 hosted “Infiltration,” and Wells’ own “Epic Omega,” a stirring ode to President Obama. It would be a joy to hear J. Wells focus his attentions on one deserving voice, and not an entire, occasionally clashing assembly. On this evidence, he remains a Master in waiting.



 

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The views expressed here are those of the authors and not
necessarily those of Dubcnn as an organisation.
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