Finally Famous – Big Sean

Year	Album	Artist	Stars	Score	Genre
2011	Finally Famous	Big Sean	★★★	63	Hip-Hop	Pop Hip-Hop

I think Big Sean’s Finally Famous is one of best sounding projects to emerge from hip-hop blog-era of 2008 to 2013 — which saw the genre frequently embracing and promoting new, young stars but also placed most of them in a clean, sterilized, commercial environment that pacified some of their creativity in exchange for basic radio hits and instant gratification. 

Big Sean frequently walks the line of being really funny and creative in a childish way, or incredibly stupid and obvious. When he’s put on the wrong beat, or gets out rapped by a far-superior lyricist, or is asked to put out a serious verse, his humor and insights really fall flat. When he has the flow working, the right beats and is paired with a solid collaborator, it really works and is a fun time. For about 90 percent of Finally Famous, everything lines up for him to thrive.

No I.D. serving as the primary producer on more than half of Finally Famous’s tracks, and Kanye West acting as the executive producer for the entire project, elevates it all by bringing some nice warm, sometimes soulful elements that go beyond the standard, emotionless pop-rap or repetitive trap tracks that oversaturated the market at the time. Even if the package as a whole is still a bit generic and commercial, some of the songs that typically would be throwaways like “Live his Life” and “So Much More” have life to them because of the backing group vocals and bright, optimistic vibes.    

The singles were great at the time and are still fun to throw on. “I Do It” is a darker, harder beat, but has some of the bounce that helps keep things light and cool while Sean floats. “My Last” is a cookie-cutter single that works because the party and inspirational imagery isn’t over the top, and the Chris Brown hook blends perfectly with No I.D.’s warm pianos and synths.   

“Marvin & Chardonnay” might not be produced by Kanye, but Pop Wansel and Mike Deen do a great impression with soul-adjacent strings and horn samples and a goofy squeaking bed frame that’s used as the drum loop. Kanye also sounds like he’s having a great time here, even if half the lines fall flat. Sean really elevates his profile, and sounds in his elements going back and forth both lyrically and stylistically. 

“Dance” (the original, not the remix with Nicki Manaj) always gets you out of your seat with the swirling MC Hammer sample, and the subwoofer/clap beat combo. “Go stupid” being repeated over and over is pretty appropriate, because it’s a dumb song with some truly dumb lines, but I’ll be damned if it isn’t a fun 3 minutes.   

“Get It (DT)” is a mid-level Pharrell track without much edge to it but it’s harmless and fun enough.  “Memories (Part II)” serves as a more reflective tune that’s basic but it works, with some soulful backing vocals, a soft piano and violin part and a well-done John Legend chorus that makes the song feel like a mid-2000s Kanye or Common cut. And the album’s stoner track, “High” — with its pulsing, spacy, nighttime production and playful Wiz Khalifa feature — has no business being as great and intoxicating as it is. 

There are weak points, sure — “Don’t Tell Me You Love Me” and “Too Late” are a little basic and bland, and a lot of the lyrics could have been workshopped a bit to pack a bigger punch — but overall, the record’s fun, warm, lively and harmless.