I destroyed the glass ceiling as a nigga. Not the nigga that Dolezal tried to fool us all as. No, the spic savior sailor that gets his fins clogged with the pharmaceuticals of colonialization. Never heard the white man screaming, ‘Swim, Sunez! SHARKS!’ But back to city streets where batteries roll down Gunset Park hill like the opportunities we never gave energy to. Citizens, on your set marks. Rat scars may set. Next commercial, you go..Hoe!
Race is a science of Originality versus the illusion of such. It bred a pack of the most malicious and slowest runners making rules and regulations to win over the law of the universe. But some will break the real glass ceiling. Where?! You wanna find it, young slave?!! I’ll show you my chained minstrel! Spit straight in the air and focus your stare in the air. Only one water of wisdom will fall on your face. The same you threw returns with a fury unwanted. It must be God’s will they say as if a mystery is allowed for the missed story. 85 percent of the time the saliva sold a song that sang about something else making this hell better. Yet the same will to find out will return and so who’s will is the only achieved? You and I verse, a cycle of revolution where the universe is composed. All rarely captured yet the next great rebel named William Cooper performs God’s Will MCing it to you. An LP that fights on thousands of corners of ideas and BP’d to millions of rugged frequencies shot high into the glass ceiling.
William Cooper is an MC as clearly enunciated as a Curry free throw and as endearing as John Brown exploding plantations who has molded an ultimate musical focalism on rap music. Refreshingly MCing in his naturally militant lenses that battle rap segues into matrix exposes through uplifting anthems for an extremely concentrated hour. God’s Will is Cooper’s opus that lyrics his theme of righteous hopes and is a definitive production work by BP that reveals his masterful fluidity.
God’s Will is a collage of the insight snippets of an entire life of struggle funneled into shifting arrangements by BP. It elevates the rugged introductions of Beware of the Pale Horse. On God’s Will, Cooper’s mastery of the league of MCs he is builds with are all on the right songs, the correct topics and excel through his consistent precision. To immediately work all these machined parts, it’s his flows on cue with everything BP works. There is the dynamic power diving into battle form on “Grym Reaper” with “this is God’s Will written in devil’s blood get out your prayer rugs/pay homage to these hot slugs/holy communion for those thugs that be shooting/a bloody baptism for street gangs recruiting/public executions for bootlegging my music…” that fuses beautifully into the organs of “2 Cups Of Blood” and an ill homage to Grave Diggaz’ Poetic who returned to the essence with, “Poetically balanced in the sands of time/so grim until the ghetto repaired his young mind/today I heard the Earth cry for the first time/it was the worst time/when death took my brother Grim to the other side.” “Blue Dreaming” offers positive outlooks with the visuals of memories and the details of better ones.
The tempo pacing Cooper keeps is what allows BP to arrange the LP so wildly diverse as Cooper can go intense on “7th Odyssey” with Timbo’s excellent wordplay and Priest’s imagery as he goes acapella at upper mid tempo, “ancient alien aircraft/depicted in stained glass/carvings on the wall connect us all to the past/from gladiator armor to black gloves and black masks/reverse the universe and awaken God’s wrath/overcome the agony/polluted with misery/a murderer’s melody/ makes my pen move violently /7th Odyssey/Black Market dynasty/my halo hover my cipher three sixty degrees/snakes devour rats and lead us right to the cheese/where the foulest of the foul never too far from the cream/the banks are the gangster/the guns are their fees/flatten all your credit score til your dreams can’t even breathe/God’s Will with the psychic world of Walter Reed/leap through galaxies and visit places never seen/get your bug out bat and gas mask/it’s time to lead/we just a ticking time bomb away from World War Z!”His wit matches his guest MCs without losing the theme or the call words as on “Holy Mountain” with Sean Price where he adds, “Slugs with a side of fries flying out the potato/collide with cyborg micro-drone mosquitos/ice kahluha cappuccino, little easy jesus/cool foods arise like pyramids of Giza/fire up the mountain more treacherous the path…” that is abstract in its unifying and entertaining in its comedic oddity and smooth shift into militant objectives. Because Cooper’s lyrics aren’t for workouts but distinct training. This world is covered in hell’s filth and his verses are filled with the emotions of anger and love for the people. Just as his chosen MC name he is steeped in the conspiracy that lyric by lyric loses all of the delusional dismissing it once had. The builds on “Secrets of Oz” are researched facts of oppressive structure placed into metaphor while “Zombieland” lays the wordplay of conspiracy into anthems of resistance. Today, you’re a punk if you think Cooper’s ideas are mere hardcore rap babble and when they are so distinctly and creatively directed into red song capsules the work is a signature one in his young career.
All of Cooper’s chaptered book of rebellion and revelation turns so well because of BP’s extreme production work. This is an LP where every second’s eq, every minute’s break pace, every song’s tempos and every musical chop has been worked and worked methodically. There are the obvious homage notes of Les McCann’s violent strings for the Infamous Big Twins and Big Noyd on “Marvelous Minds,” the horn cascade on “Closer to God” that lets the drums punch and pound for Rah Digga. Then there is the stringed dropout for Killah Priest and Cooper to chronicle war poem anthologies for “Verbal Checkmate” while “7th Odyssey” he gives Priest and Cooper a low fi drum cymbal crash leader that puts Priest in a fiery uptempo that contrasts with the fluted drone and distant drum rolls Timbo verses over. With all these changes the point of transition BP works is brilliantly sharp again and again. As the war horn cinema opening of “Volcanic Winter” where the bassline breaks in with the thunder, stops, starts and then drives along. Or one, two three drum pound to the the soft strings opening the escape dream of “True-n-Livin Nightmares” as William Cooper sets off near acapella. The beat drops but at the peak where Cooper reaches the next throttle at the second bar. Execution of illness is the violence of BP’s beat gifts where all the song’s themes are matched right and the guests excel revealing expertise.
And so this is God’s Will. That when a man returns to the essence you’ll know that the God, this supreme being, showed you the war to wage to write your will was the way. And now the greatest glass ceiling, the mystery of your greatest plan unplanned, your history never written in advance been the only way to hurt your arm, leg, leg, arm, supreme head. All of it, from the thought to the plan, the execution fulfilled by an honorable man, are all in God’s Will, all in the MCing of William Cooper and music of BP. Beware the falling glass…