In a sense, signing to Maybach Music Group has been a blessing and a curse for Wale. What for Ralph Folarin had been an ideal business move (especially given that prior label Interscope all but left him hanging in effectively promoting his 2009 debut Attention: Deficit), ended up polarizing fans and critics into two distinct groups: those who embraced Wale’s newfound swagger alongside Rick Ross and his cohorts in MMG, and others concerned that Wale’s sound would change. The latter group’s fears were affirmed when the man responsible for such conscious bangers as “Shades” and two Mixtapes About [something hidden under the guise of] Nothing, also became the man associated with “The Guilty Pleasure (No Hands)” – often strategically wrongfully credited to Waka Flocka – and strip club appearances in the videos for “Bait” and Ross’s “Make It Rain (Remix).”

To Wale’s credit, leading up to AMBITION‘s release, he exhibited strong showings on Self-Made, Vol. I and on his precursor mixtape, The #ElevenOnEleven Theory, as well. But with each ensuing leak, expectations for the man trying to put D.C. on the map ranged from high to tempered; so that by the time AMBITION finally arrived, it was impossible to listen to the album with completely unbiased ears as pretty much every listener had firmly situated themselves in one of the aforementioned groups. Thankfully, AMBITION does an outstanding job of speaking to both.

For those in the “I like Wale’s MMG swag” camp, AMBITION presents listeners with a much more self-assured Wale. Perhaps it’s because he’s coming in with one album under his belt and now has experience. Perhaps it’s that his new label has allowed him more creative control content-wise. Perhaps it’s the newly acquired access to the lavish lifestyle Ross has always aligned himself to. Regardless, we now have a Wale who’s spitting game to women that the A:D Wale would have deemed unattainable or unapproachable, as is the case on the Miguel-featured smash-single, “Lotus Flower Bomb”; bold enough to blast shallow women he before complained about, like on “Chain Music” (“but where I’m from, ain’t no love for no broke nigga”); and crafting tracks purposely made for the strip club, like “Miami Nights” and the infectious “Slight Work” featuring Big Sean.

Those in the “Maybach’s changed Wale” camp will appreciate that the Lex Luger sound that permeates much of Rick Ross’s music is nearly completely absent from AMBITION. The “old” Wale staples of old show up at various points throughout the album, such as preaching a gospel of hard work in-spite-of (“No Days Off”) and glorifying the underappreciated woman – it’s just now she’s (de?) evolved from the “Ambitious Girl” to “The Illest B*tch Alive.” And if albums were judged on instrumentation alone, AMBITION would find itself amongst the best releases of the year. Production from T-Minus, Toomp, Tha Bidness, and others make every beat superb, whether it’s the soft guitar on the Lloyd-featured “Sabotage,” the rock ballad guitar on “No Days Off,” or Deputy’s you-sure-this-ain’t-a-Zapp-and-Roger-or-Isley-Brothers-sample beat on “White Linen (Coolin’)” featuring Ne-Yo.

If nothing else, AMBITION depicts an internal battle, a Wale who sees in himself the “change” many have talked about and struggles to challenge this change, yet appears contradictory throughout. I’m hard-pressed to believe that it’s still reputation over everything, as Wale claims on the epic anthem “Legendary” (“Fuck money, fuck anything anyone can take from me… we just tryna be legendary”); when much of the album contains rebellious bragging like that on “Double M Genius” (“They say I need some knowledge/ but I think they need a stylist/ B*tch you should see my wallet”). 

I love that Wale on AMBITION seems more confident than ever, yet still hungry for more. But I worry that the Wale who would have emphasized that back narrative, who was more interested in picking the stripper’s brain than showering her with dollars, who didn’t need to be buoyed (or drowned out?) by features, is lost amidst the Wale who has, in a sense, conformed to the new world he’s a part of, more focused on being a hitmaker than a storyteller because that’s what sells. The listener must ultimately decide whether style works better for Wale than substance.

SCORE: 7.9

Jay Howard Gatsby

Author in progress who ended up making his hobby of listening to good music somewhat of a job. I get to work on behalf of something I love. "I love it when a plan comes together!" - Hannibal from The A-Team

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