‘JO’ is the infectious new single from French Algerian DJ and producer MOH GREEN, in collaboration with award-winning US rap star of Moroccan descent FRENCH MONTANA and Nigerian breakout star IDA BANTON. Serving as the lead single for Moh Green’s highly anticipated EP Just Now, which arrives next spring, ‘JO’ is an afroclub banger in true Moh Green fashion, and it is also the perfect example of Moh’s Pan-African vision being displayed on a song that will take listeners to all four corners of the world. From France to the US to Nigeria, and Algeria and Morocco in between, ‘JO’ celebrate the cultural diversity that Moh Green wants to promote through his music.
Produced by Moh Green and Nour, the global music offering is a dance floor filler, driven by lush drums, synths, and flute arrangements, that is calling on the listener to lose all their inhibitions and dance, as teased by the song title ‘JO’, which means ‘dance’ in Yoruba. It comes with a fun and captivating music video that was shot in Miami and Paris, and directed by Marseille-based creative outfit Red Out Black, who have worked with French stars like MRC, L’Algerino, and Soso Maness, and amassed over one billion views on their scene-stealing music videos.
Speaking about the inspiration behind ‘JO’, Moh Green says, “My goal with this song is to merge our different cultures musically – French Montana, 1da Banton and myself. My message has always been to export African music all over the world and for it to be without limits – this song ‘JO’ is a continuity of that message being brought to life. My mantra in life is to do things now, hence why my upcoming project is titled ‘Just Now’, and that is what led to the making of this song. We just wanted to make it happen and we didn’t let the distance between us as artists get in the way”.
Having played in over one thousand clubs internationally, from Miami to Rio de Janeiro to Montreal to Shangai to Dakar, Moh Green is one of the most influential afroclub DJs in the world. His influence in the club scene also translates into the music landscape across Europe and Africa, where he has amassed over 250 million plays online, worked with Sean Paul, French Montana, Fally Ipupa, and Runtown, among others, and garnered critical acclaim from the likes of MTV and AFRIMA. The French Algerian native is readying his new project for 2023, with ‘JO’ serving up a taste of what to expect.
Compton golden child Roddy Ricch returns with the third installment to his critically acclaimed mixtape, Feed tha Streets. After a successful run of hit singles “Down Below”, “Die Young”, to scooping music’s most coveted prize, The Grammys with his croony Nipsey Hussle-assisted number “Racks in the Middle”, Roddy’s allure seems intact. Along with two number one singles on Billboard charts with diamond-selling “The Box” and “Rockstar” alongside Hip Hop’s most polarizing standout since Ye, Da Baby – Roddy also dominated 2020 with his magnum opus debut, Please Forgive Me For Being Antisocial. Easily a lauded classic in present day standards, his follow-up was highly anticipated. Continuously, he had a new acquired height of stardom, and singles with NLE Choppa (“Walk Em Down”), Cordae (“Gifted”), as well as the jubilant “Ballin” with Mustard, Roddy’s profile had risen into almost Headliner status, but the streets and the charts tended to lean towards the same review – the sentiment was that Roddy has the makings of the next generation leaders alongside acts Lil Baby & Travis Scott – picking the baton from the Rushmore that is Drake, Kendrick and Cole. However, in between first-time fatherhood and rap supremacy – his sophomore arriving two years after his debut was met with vile criticism for failing to live up to the lofty billing his former had established. Live Live Fast fell short of expectations, and the public court of opinion was that Roddy had began to decline, leaving this – his golden chance to prove them right or wrong with his next full-length offering. Brazenly, he sacrificed his Feed tha Streets legacy to do so.
The Review:
Roddy is his own man. He has never been one to follow trend, and his habit to pick his moments has become brand-like nature for him. On this project however, he almost falls to the trappings of pressure to deliver. On “Just Because” – a soothing syrupy cut, he reminds us of his arduous rise to the top and isolates himself from the cluster of rappers: “Counting all this paper, I ain’t never think I lost”, “We started off robbers, now we certified ballers, I be on my ball-hog shit” he mutters reflectively.
Records like “King Size” come off as repetitive as he redundantly talks about the same things he normally whims about – money, beating the odds, pouring lean and designer brands.
“Heavier” has a stark guitar melody that reeks classic punk rock. Roddy’s ear for great music is always pertinent, and how he balances that with his grimey trap drums and melodic essence has always worked for him. A personal tribute almost, he champions his team and touches on rapper Lil Keed’s death, as he contemplates on the dangers of rap, empathizes with rap group friends Gunna and Thugger’s arrests and more. He cuts a forlorn figure, but can do without this track.
Tracks like “Blue Cheese” are classic Feed tha Streets joints that see him syncopate melodies and sounds such as the infamous “Ee Eer” “Box” adlib. This will auger well with his day-one fans. Tender cuts like “Favor For a Favor” capture his sumptuous edge, talking admirably about a lover, but result as probably too lyrical for a chart-contender. On “Twin” he recruits The Voice aka self-proclaimed Chicago’s Hov – Lil Durk, as they gloat about the perks of a successful rap career – about the expensive lifestyle rap has afforded them. “Aston Martin Truck” is another attempt for Roddy to reclaim the streets and inspire his listeners, but again lacks that verve that a “Fucc It Up” possesses. Something about Roddy feels slightly alleviated on the entire record. He still has the midas touch, an amazing tonsil to his voice, but the music feels hollow, and more background-furnished. It doesn’t arrest us, taking front and centerstage, directing us to his authentic feelings. Perhaps it’s how Roddy blew up so quick and is running out of steam, but the music is not connecting to the standard he accosted us to prior. To be fair, besides “#1 Freak” with Ty Dolla $ign, the tracklist is like listening to the same track all over and over. Roddy has reduced himself into a cookie-cutter artist and rejects any attempt to evolve or revolutionize his art. The tape sees some improvement towards the tail-end, but it feels like Roddy needs to expand his palette and succumbs to his own proclamations “Get too much money, ain’t even trying to take any more advice”. However, being a Roddy fan from his early days, this might be an effort livable with, but for many – we need to see Roddy get off his high horse and indolence, at least if he wants to relinquish or better his 2020-21 run into the stratospheric spaces he was promised through his earlier works. It adds up to a meek 4/10 project at best, in the Compton elite’s standard. He could use more flows, better writing, song arrangement, and go left with to counter the predictability he’s harnessed for himself thus far.
