Review: Pusha T - My Name is My Name

The album name is a quote by the character Marlo Stanfield from the TV show The Wire, a young drug king-pin who was more street than he was savvy, which proved to be his ultimate undoing. In its original context the character used the phrase as a way of re-iterating to his underlings that his name is his standing in the streets, which he views as his streets.

In the same vein, Pusha T views his career in this way.

As one of the original crack-rap dough boys, who 'came from the bottom' and arrived at the top, he felt he deserved all the plaudits usually reserved for Lil Wayne, Jay-Z et al. Imagine his dismay then, upon his ascension into Kanye West's G.O.O.D Music stable, he found himself a peer to an endless stream of fake rap hustlers and wannabe thugs. Then imagine, him having to wait 4 years to release this record. You'd be pretty pissed.

His name is his name, and the rap game is his streets.

This street mentality and underdog desperation informs his music, and the best tracks on My name is my name are the ones with the barest, rawest beats. Pusha's voice, with it's arch timbre, obliterates soundscapes, making it almost impossible for him to rap over extravagant and lush instrumentals without sounding like he's not supposed to be there.

Then again, maybe that's the point and the more commercial tracks are illlustrating his one-foot-in-the-door approach to his image. His name is his name, and whilst he may be rapping over The-Dream's gorgeous beats, or soliciting hooks from Kelly Rowland, he's may feel he's still in his streets. To our ears though, he still sounds better when he keeps it gutter, and lucky then that he spends most of his album there.

Opening track 'King Push' finds a comfy spot between Hip-Hop and Trap, putting Pusha centrestage, allowing him to reclaim his throne and restate his manifesto. "I rap niggas, about trap niggas, I don't sing hooks".

The industrial pots and pans rattle of 'Numbers on the board' sounds even better in the context of the album. The "ballers, I put numbers on the board" refers both to basketball scores and making money, this duality re-inforced with lines like "mix drug and show money". Just letting you he's still a "legend in two games, like I'm Pee Wee Kirkland".

When Pusha moves into the world of 'show money', the street impact is lost. 'Street Serenade' and 'Hold on' feature great verses that get lost amongst lush instrumentals.

'Suicide' redresses this problem, with Push and former Re-Up Gang collaborator Ab-Liva going all in over a brash and bold Pharell beat. It's like '06 Hell Hath no fury all over again.

Wedged between underwhelming The-Dream and Kelly Rowland tracks is 'No Regrets', a spritely trap piece that would've sat well on Yeezus, executive producer Kanye West's opus.

Kanye and DJ Mano contribute a buff Pharell-like instrumental with 'Who I am', with Pusha outshining young guns 2 Chainz and Big Sean.  'Nosetalgia' follows, and whilst it may be the simplest beat you'll hear all year, Pusha and Kendrick Lamar tear into it like starving lions feasting on a recent kill. It's that raw.
A couple of strong tracks finish off the album in the already released 'Pain' and the Pharell-produced 'S.N.I.T.C.H.'.

Although let down by the songs that make concessions to the bare-bones sound in search of the elusive commercial airplay, My name is my name delivers on it's title and reclaims his streets, calling out those who are keeping it reel, as opposed to keeping it real.