Detroit’s Babyface Ray is moving at high velocity. The Detroit rapper peppered 2022 with releases, high profile projects such as ‘FACE’ and ‘MOB’ proved to be breakout moments. His popularity soaring to stratospheric levels, ‘Summer’s Mine’ is both a statement of intent and a switch-up – embracing scorching temperatures instead of his Detroit iciness, it finds the rapper moving with something to prove.
‘ScarFACE’ is an effective opener, tapping into Ray’s understated flows. ‘Donda Bay’ – “My name good, my face clean” – is an early highlight, all braggadocio and murky production. At times, though, ‘Summer’s Mine’ doesn’t hang together tightly enough – the track selection becomes a little wayward, the quality control haphazard.
‘Leaving London’ feels slightly forgettable, while mid-album cut ‘Skateland’ passes by without a ripple. ‘All Star Team’ too feels a little simplistic – “I’m an all-star team, far from a rookie…” That said, the highs claim their place within his catalogue – ‘Dancing With The Devil Pt. 2’ is a hugely powerful piece of work, daring to touch on addiction and mental health in the process.
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The features, too, are carefully chosen. Working with artists he trusts, Babyface Ray spars against Los and Nutty on ‘Luh Tyler Flow’, before King Hendrick$’ playful touch on ‘Big Meech Holiday’ adds a cartoonish colour to the project.
In a way, Babyface Ray saves the best to last. ‘Fly Gods’ pits the rapper against Westside Gunn, the production leaning into the soul-adjacent sample styles the Griselda crew seem to exemplify – two outsiders, it becomes Detroit vs Buffalo, the muscular approach sitting apart from the breezy flows ‘Summer’s Mine’ embraces elsewhere.
An entertaining album that lacks a certain cohesion, there’s more than enough here to justify Babyface Ray’s rise, while also allowing for room to grow. Hazy hot month treats, ‘Summer’s Mine’ shines brightest when Babyface Ray opts to cut loose.
7/10
Words: Robin Murray
