It might sound a bit strange to say that a single review could actually make a positive impact on the world, but let me share an interesting story. I once expressed my concern about the absence of a Wikipedia page for Babyface Ray in his song “Unfuckwitable.” And guess what happened? Well, you don’t have to guess – you can check it out yourself. The Wikipedia entry for Babyface Ray is now there, although it’s marked with some issues like closely resembling copyrighted sources. Nonetheless, it’s a step in the right direction. Someone can come along and make the necessary improvements to the article, as long as it’s not Babyface Ray himself or someone acting on his behalf. That would risk getting flagged for sockpuppetry, a practice of using multiple accounts to manipulate discussions.
Moving away from that topic, let’s dive into “Summer’s Mine,” a song that dropped just three days before this review. In “Donda Bag,” produced by SpaceTheWizard, Babyface Ray’s distinct Detroit-style delivery takes the spotlight in a very minimalistic track. This song is likely to divide listeners – if you’re into his rough and raspy tone, you’ll probably enjoy it; if his voice is more like scraping steel wool to your ears, you might not be a fan. Personally, I find the authenticity appealing. Babyface Ray isn’t hiding behind auto-tuning or altering his voice, nor is he delivering his lines in a sing-song manner. On the other hand, in “Bosses Linking With Bosses,” produced by Treeze, the bass is so powerful that Babyface Ray and guest artist Veeze almost blend together. Both have raspy voices, but Veeze’s pitch is slightly higher.
Collaborations with guest artists were a significant aspect of Babyface Ray’s previous work, and “Summer’s Mine” continues this trend. One standout for me is “Fly Gods,” produced by Top$ide, which features Westside Gunn. This track has a Griselda-like vibe, which is a strong endorsement in my book. However, the lyrics aren’t incredibly outstanding. Babyface Ray possesses an intriguing sound but sometimes falls back on themes about haters being envious of his success. It’s enjoyable to see him flaunting his spending in luxury stores in the music video, but even that seems a bit cliché.
But if you give Babyface Ray a chance and dig beneath the surface, you’ll realize there’s more to him. “I Can’t Rap Foreva” is refreshingly honest, considering he’s currently doing well in the rap game. He acknowledges that while things are going great, he can’t rap forever and is considering his next steps, possibly in the realm of owning a label. Even song titles like “Dancing With the Devil” (Part 2) suggest that he’s aware of the challenges in both the rap and trap scenes, which are becoming increasingly similar over the years.
The big question is whether Babyface Ray will truly dominate the summer with “Summer’s Mine.” With 16 tracks spanning 47 minutes, he’s in a good position to make an impact. Unlike some rappers who might only rap a few bars and leave the rest to the producers, Ray is putting in the effort and it’s evident in how he’s progressed from his previous works. His rugged vocals are pivotal for a project like this. It reminds me of the late Keith Elam’s statement about “Mostly Tha Voice,” acknowledging that while some critics didn’t like his delivery, fans of Guru’s lyrics considered him a rap legend. Babyface Ray might not be a legend yet, but if he continues to improve each summer, he could end up owning more than just a portion of the calendar.
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