As one of raps most premier lyricists, Pusha T can glide over production from almost anyone. Whether solo or with Clipse, Pusha does what Pusha does: whips up the most extravagant drug dealer fantasies and street rap legend-building, no matter the production style or context. But no two people have melded with him more to bring out the very best of his style than superproducers Pharrell Williams and Kanye West—who happen to be the sole producers on It’s Almost Dry, Pusha’s new album.
Pusha T and Pharrell’s relationship extends back the furthest: Along with Chad Hugo, the three Virginia natives met in high school. Pharrell and Hugo would of course go on to become the Neptunes, and produce Clipse’s two classic albums in 2002’s Lord Willin’ and 2006’s Hell Hath No Fury, and contribute to their final record as a duo, 2009’s Til The Casket Drops. Pharrell was also prominently featured on Clipse’s fan favorite Re-Up Gang mixtapes.
Push’s solo career marked the beginning of a new fruitful relationship with Kanye West: he signed to G.O.O.D Music, West’s label, in 2010. Their collaboration began on an extremely high note: Push’s first G.O.O.D appearance saw him delivering two stellar verses on Kanye’s My Beautiful Dark Twisted Fantasy. In recent years, as Kanye’s outside production work has slowed to a trickle, it’s seemed as if he’s saved his best beats (the ones not on his own albums, at least) for Push. And Pusha T’s last album, 2018’s Daytona, was produced entirely by Kanye to plenty of critical acclaim.
With It’s Almost Dry, the rap veteran has brought both of his producing senseis together for the benefit of hip-hop fans all over. Two of the most important producers in 21st century music going back and forth on wax can’t help but feel like the closest we’ll ever get to witnessing a Verzuz between them, with Pusha T as the charismatic. Both Kanye and Pharrell bring about truly inspired, euphoric moments throughout the album. In fact, it was Pharrell who played a large role in crafting tracks that would get Push out of his comfort zone, as he explained on his Twitter. “See Pharrell was focused more on compositions (song structure, call outs, flow patterns) on his portion of the album. [Kanye] was more focused on the bars and the neck breaking bop that comes from the beat…” Both strategies are successful: we’ll be debating whether this or Daytona is Push’s masterpiece but either way, it’s a great album.
But who really brings out the best in King Push? There’s only one way to find out—by going track-by-track through It’s Almost Dry, scoring each of Kanye and Pharrell’s tracks 1-through-5, and seeing who’s standing at the end.
“Brambleton”
Produced by Pharrell
Pounding 808s and plinking synth notes give Push’s coke rap the extravagance it deserves. It feels like a Clipse version of a Rick Ross song. The saxophone accents add to the elegant vibe. 4/5
“LTSSTC”
Produced by Pharrell
This industrial-leaning track could almost be mistaken for a Life of Pablo-era Kanye beat—this might be what Push meant about both producers’ styles bleeding into each other on the album. The heavy 808s, a pounding, repetitive sample, and droning electronic arrangements make this sound like the accompaniment to a nightclub scene in a Blade movie. 5/5
“Dreamin of the Past”
Produced by Kanye West
Donny Hathaway’s soulful cover of John Lennon’s “Jealous Guy” forms the base for this warm, nostalgic sounding record, hearkening back to Kanye’s early “chipmunk soul” production style. It’s one of the best records on the album, though Kanye threatens to derail the whole thing with more references to his divorce from Kim Kardashian on his brief verse. 4.5/5
“Neck & Wrist”
Produced by Pharrell
“Neck & Wrist” is the strongest single on the album, conjuring memories of the space-age drug rap that made Hell Hath No Fury a classic. Both Push and Jay stunt and shine on the majestic synths and pounding bass. It’s what you expect from the alchemy between Pharrell and Pusha T. 5/5
“Just So You Remember”
Produced by Kanye West
A much more atmospheric, moody record with an evocative bassline and sample taken from Colonel Bagshot’s “Six Day War.” It isn’t particularly affecting by itself but sets the right tone for Push’s subliminals and braggadaccio seemingly aimed at the entire music business. Pure meat and potatoes. 3/5
“Diet Coke”
Produced by Kanye West & 88-Keys
This is a fun song and the kind of thing Kanye does in his sleep. The idea of an “Old Kanye” has always been a bit overstated, but it’s cool that Push’s gritty lyricism and street swagger steer Kanye back to his soulful roots as a producer. Still, one of the lesser beats on the album. 3/5
“Rock N Roll”
Produced by Kanye West & Pharrell
Funny enough, arguably the weakest song on the album happens to be the one where the two producers join forces. It’s not necessarily because of Push or even the beat, which once again finds Kanye in his soul sample vein with a slick flip of Beyoncé’s underrated album cut “1+1.” But overall this beat seems more suited to someone like Kid Cudi, who handles hook duty here, than Pusha. 2/5
“Call My Bluff”
Produced by Pharrell
A very tough beat to accommodate easily the most Tough Talk on the album. This is perfectly tailored for a summer in your car just riding around shining. 4/5
“Scrape It Off The Top”
Produced by Pharrell
This is a prime example of Pharrell trying to to help Push expand his sonic palette, but the bubbling xylophone keys and melodic arrangement serves Don Toliver and Uzi better than the star. 2.5/5
“Hear Me Clearly”
Produced by Kanye West, ThaMyind, Luca Starz, & BoogzDaBeast
Another strong single, “Hear Me Clearly” also premiered on fashion designer Nigo’s album from earlier this year, I Know NIGO! The gothic violins and the industrial drone give the song an action movie speed and sinister energy that Push meets with absolute glee. 5/5
“Open Air”
Produced by Pharrell
An undeniable groove that still feels really tough. The choir gives it a haunted vibe, while the knocking drums make this a really affecting record. It’s like the soundtrack to a bank robbery getaway or speedboat trip to Cuba like you’re in Miami Vice. Few are better at understanding that kind of stunting extravagance quite like Pharrell Williams. 5/5
“I Pray For You”
Produced by Kanye West and Labrinth
Fun production flourishes, but the real draw of the song is the Clipse reunion, with Pusha T’s brother No Malice still as ill as the last time you heard him. The chanting monks feel over the top, but I can understand wanting to close out the album strong. 3/5
Verdict:
Pharrell: 27.5
Kanye: 23.5
Pharrell tends to hold most of It’s Almost Dry’s biggest high points, which isn’t a huge surprise: Even though Clipse came into the game on Pharrell/Neptunes beats, it now feels like an event when Pharrell and Pusha T are together on wax—largely because Push has worked so closely with Kanye for the last decade. But while Pharrell gets the nod here, what is definitely evident is that both producers locked in and tried to deliver records that would rank as some of their best work. Push said as much himself: “My goal was to get the best out of both of them for what they like out of me artistically.” Sure, the technical winner here is Pharrell—but the real winner might be real rap fans who get to listen to all this excellence in one place.